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U-ESD 



Owner's Manual 



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ATTENTION 



:rsoue oe choc tucTMoue m ms ouwm 



CAUTION: TO REDUCETHE RISK C>F ELECTRIC SHOCK. 

DO NOT RBTOVE COVER (OR BACK). 

NO IBEfl-SERWCEABLE P«TfS INSIDE. 

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL 



A 

A 



ThaBgWn^Bashw^amwmeadsytrtjQtwnthBianBquiiaiefa! 
triangle, is intended to alert me user to Bie presence ot un- 
insulated "dangerous ventage" within the product's erctasure 
that may be of sufficient magnitude to constitute a risk of 

eiectnc shock to persons. 

TheeaasmaiionpotaitwflrtaaneQuiateraitrte^ 
to alert the user to the pre se nce of important operating and 
maintenance (servicing} instructions in the iterators accom- 
panying the product 



INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS. 



WARMING — When using electric products, basic precautions should aiways.be followed, including the following: 



i. Read ail the instructions before using the product 

2. Do not use this product near water -—tor example, near a 
bathtub, washbowl, kitchen sink, hi a wet basement, or near 
a swimming pool, or the like. 

3. The product should be used oniywith a cart or standthatfcs 
recommended by the manufacturer. 

4. THs product, either atone or tocornrartattonwimanaiTipfffier 
and headphones or speakers, may be capable of producing 
sound levels that could cause permanent hearing toss. Do 
not operate for a long period of time at a high volume level 
or at a level that is uncomfortabte. ft you experience any 
hearing toss or ringing in the ears, you should consult an 
audtotogjst 

5. The product should be located so that its location or position 
does not interfere with Its proper ventilation. 

6. Theproduetsbould be located away from heat sources such as 
radiators, neat registers, or other products that produce heal 

7. The ptoauctstaxjtoavoto using to where It ma^ 
by dust 

8. The product should be connected to a power suppfyonlyof 
the type described in the operating instructions or as marked 
on the product 



9. The power-supply cord of the fjrodudshouto be unplugged 
from the outlet when left unused for a tong period ot time. 

10. Do not tread on the power-supply cord. 

11. Do not pull the cord but hold the plug when unplugging. 

12. When setting up with any other tnstrumertts, the proceoure 
should be followed in accordance with instruction manual 

13. Care should be taken so that objects do not fall and Squids 
are not spited into the enclosure through openings. 

14. The product should be serviced by qualified service per- 
sonnel when: 

A. The power-supply cord or the plug has been damaged: 
or 

B. Objects have fallen, or liquid has been spilled into the 
product; or 

C. The product has been exposed to rain: or 

D. The product does not appear to operate normally or 
exhtotts a marked change In performance; or 

E. The product has been dropped, or the enclosure dam- 



15. Do natattempt to service the product beyond trtat described 
in the user-maintenance Instructions. All other servicing 
should be referred to qualified service personnel. 



SAVE THESE INSTRUCTIONS 



For the U.K. 



WARNING: THIS APPARATUS MUST BE EARTHED 

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE 
GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE 

As the colours ot the wires in the mains toad of this apparatus may not corresporto with me r^ou^ 
the terminals in your plug proceed as follows: 

The wire which is coloured. GREEN-AND-YELLOW must be connected to the terminal to the plug which is marked by 
the letter E or by the safety earth symbol ©or coloured GREEN or GREEN-AND-YELLOW. 

Trw wire wnk^ is coiCKjredBLUErrujst be connected 

The wire which is coloured BROWN must be connected to the terminal wNdi is mar^ 



The product which is equipped with a THREE WIRE GROUNDING TYPE AC PLUG must be grounded. 



U-SED 5SPCM 



SOUND MODULE 

Owners Manual 



■ Introduction 

Thank you for purchasing the U-220 RS-PCM Sound Module. The U-220 contains 
a RS-PCM digital sound generator that can produce a wide variety of high-quality 
sounds. To take full advantage of the U-220's features and ensure long and 
trouble-free enjoyment, please read this manual carefully. 



Copyright © 1 989 by ROLAND CORPORATION 



Ail rights reserved. No part of this publication may be reproduced in 
any form without the written permission of ROLAND CORPORATION. 



CONTENTS 



Chapter 1 How to play the sounds 



Listening to ROM Play 5 

IMPORTANT NOTES 7 

FRONT PANEL AND REAR PANEL 8 

M ain Features 10 

How to use this manual • 12 

1. Getting ready to play 14 

a. Connections 14 

b. Turn the power on 15 

2. Play the sounds of the U-220 16 

1 . How MIDI data is communicated 18 

a- Connections 18 

b. MIDI Channels 19 

2. MIDI data used by the U-220 21 

1 . How the sound generator is organized 24 

2. Memory structure 25 

3. How the sound is output 27 

4. How MIDI data is received 29 

5 . Operation - • • • -31 

a. Operation Modes 31 

b. Operation procedures 32 

1 . Play Mode 42 

2. Edit Mode 45 

a. Setup settings * 45 

Master Tune 46 

Effect 46 

LCD 46 

MIDI 46 

Map 49 

b. Patch setting 53 

Naming • • ■ * * 53 

Effect 54 

Controller 56 

Part settings 58 

Rhythm Part -■ - ■■ -63 

c Editing a timbre 64 

Naming 65 

Tone 65 

Level 66 

Pitch 68 

Vibrato 70 

d. Editing a rhythm set 71 

Naming 72 

Bender 72 

Inst ■ 73 



Chapter 4 Function reference 



Chapter 5 Basic Procedures 



3. Data Mode so 

a. Write procedure 80 

Patch 82 

Timbre 84 

Rhythm Set 86 

b. Bulk Dump 88 

All data 90 

Setup data 91 

Temporary 92 

Memory 92 

c Initialize 93 

All data 95 

Setup data -95 

Temporary 96 

Jump Page • • -96 

d. Utility 97 

ROM Play 97 

MIDI Monitor 97 

1. How to adjust the volume 100 

2. How to change the output 502 

3. How to select patches 104 

4. How to change the current sound 105 

5. How to change the pitch 107 

6. How to add reverb 110 

7. How to add chorus 111 

8. How to add vibrato 1 112 

9. How to set channels 313 

10. How to use a sequencer 114 

1. Error messages 120 

2. Troubleshooting 121 

3. Parameter List 123 

4. Preset Tone List 126 

5. Initialized Settings 130 

6. Blank Charts 133 

Roland Exclusive Messages 139 

MIDI Implementation 143 

.MIDI Implementation Chart 151 

MIDIFlow Chart 153 

SPECIFICATIONS 154 

INDEX 155 



Chapter 6 Supplementary material 



Listening to ROM Play 



Listening to ROM Play 



The U-220 contains two songs which demonstrate its multi-timbral capabilities. The ROM Play function is used to 
piay these songs. 

To listen to the ROM play demonstration and also to take full advantage of the multi-timbral functions, we 
recommend that you connect the U-220 to a stereo amplifier or listen through headphones. 




Headphones 



[Procedure] 



(D While holding j JUMP ( press VALUE |~A~] . 



Daia.-m.il. -'ROM Play :Stop 

bong #1 HIGHLANDER 



Use S ^ 1 CURSOR | ► [ to select a song. 



#1 



#2 



HIGHLANDER 



U MIGHT BE THE 1 



Music by Marvin Sanders 
Copyright © 19B9. Marvin Sanders 



Music by Eric Persing 

Copyright © 1989, Eric Persing Music 



(1) To start the song press l ENTER j (or VALUE [Aj). 
To stop the song press j EXIT j (or j V [ VALUE }. 

Use the VOLUME knob to regulate volume. It is often convenient to hear the ROM Play 
demonstration while making connections or adjusting the volume. 

* If you start playback without selecting a song, songs 1—2 will continue repeating. If you 
specify song 2 and start playback, song 1 will begin when song 2 ends. Then songs 1 and 
2 will continue playing. 



® To return to the normal display press | EXIT | three times. 
< or hold i JUMP l and press j V | VALUE) 



Listening to ROM Play 



({Notes on ROM Play}) 



If you want to use the VOLUME knob to adjust the volume, set the rear panel FIXED/ 

VARIABLE switch to "VARIABLE". Turn the U-220 power off before changing the 

switch setting. 

The ROM Play data Is not transmitted from MIDI OUT. 

Messages from MIDI IN will not be received during ROM Play. 

You will need a MIDI sequencer if you want to use the U-220 to create an ensemble 
performance like the ROM Piay demonstration. 



• Biographies of ROM demo's Composers 

MARVIN SANDERS 

Marvin Sanders is an accomplished composer / keyboardist and authority on creative sequencing 
applications. An active musical director and composer for film, television, and theatre, he lives in 
Los Angels where his talents are utilized in studios and live performance. As a product specialist 
and clinican for the Roland Corporations have included the "Cityslicker" ROM demo in the D-5. 
and programming for the TN-Series Style Cards. 

ERICPERSING 

Eric Persing is one of the most in-demand session players and programmers in the Los Angels area, 
Eric began working for Roland as a product specialist, First doing clinics and support, then gradually 
became more involved in product and sound design. Eric has worked with such artists as Michel 
Jackson, Denise Williams, Lionel Richie, Larry Carlton, and REO Speedwagon. His music and 
sounds can also be heard on many TV shows and commercials. Actively involved in film music, he 
has worked with top composers including Michel Coulumbier, Danny Elfman, and Bill Conti. 



IMPORTANT NOTES 



In addition to the items listed under Safety Precautions, on page 2, 
we request that you please read and adhere to the following. 



IMPORTANT NOTES 



Concern me the power suonh 



• Whenever you make any connections with other devices, 
always turn off the power to ail equipment first. This wiSl help 

in preventing malfunction, and damage to speakers. 

# Do not force the unit to share the same power outlet as one 
used for distortion producing devices (such as motors, variable 
lighting devices). Be sure to use a separate power outlet. 



Concerning placement 



• Placing the unit near power amplifiers or other equipment 
containing large transformers may induce hum. 

• Should the unit be operated nearby television or radio receivers, 
TV pictures may show signs of interference, and static might be 
heard on radios. In such cases, move the unit out of proximity 
with such devices. 



Maintenance 



• For everyday cleaning, wipe the unit with a soft dry cloth, or 
one that is dampened slightly. To remove dirt that is more 
stubborn, wipe using a mild, neutral detergent. Afterwards, 
make sure to wipe thoroughly with a soft cloth. 

• Never apply benzene, thinners, alcohol or any like agents, to 
avoid the risk of discoloration and deformation. 



Other Precautions 



i Never apply strong pressure to the display, or strike it in any 
way. * ' 

' A certain small amount of heat will be radiated from the unit, 
and thus should not be considered abnormal. 

■ Before using the unit in a foreign country, check first with your 
local Roland Service Station. 



Concemine memory backu 



• Within the unit is contained a battery which serves in 
maintaining the contents of memory while the main power is 
off. The normal life of this battery is 5 years or more, but it is 
strongly recommended that you change it every 5 years as a 
rule. When it is time to change the battery, contact a Roland 
Service Station. 

• The first time you need to change the battery could occur 
before 5 years have passed. 

• When the battery gets weak the following will appear in the 
display. By this time, it is possible that the contents of memory 
have already been lost. 

"Internal Battery Low" 

• Please be aware that the contents of memory may at times be 
lost; when sent for repairs or when by some chance a 

malfunction has occurred. Important data should be written 
down on paper. During repairs, due care is taken to avoid the 
loss of data, however, in certain cases, such as when circuitry 
related to memory itself is out of order, we regret that it may be 
impossible to restore the data. 



FRONT AND REAR PANEL 



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FRONT AND REAR PANEL 



((Front Panel) 
Q Power switch 

This switch turns the power on /off, 

Q MIDI message indicator 

This indicator lights when a MIDI message is received. 

E] PCM card slot 

Separately sold sound library cards (SN-UIIO series) can be 
inserted into this slot. 

B Part/Rhythm instrument select buttons 

Use these buttons to select parts 1 — 6 in play mode or when 
editing, 

PI Value buttons 

These buttons arc used to change setting values. The value 
will decrease each t ime yo u press | V j , and will increase 
each time you press J A j . If you continue pressing a button 
t he val ue will increas e cont i nuously . If you press ['A') 
( I V I ) while holding 1 V | ( j A | ) the value will change 
more rapidly. 

HI Enter button 

This button is used mainly to specify a menu item from a 
menu display in edit mode or data mode. 

Q Exit button 

This button is used to return to the previous higher level in 
editing mode or dat a mode. ( This button moves in the 
opposite direction of j ENTER") ,) 

Q Cursor buttons 

In edit mode or data mode, use these buttons to move the 
blinking cursor to select menu items or parameters. 
In play mode use these burtons to select displays, 

Data (reverb) button 

Press this button to enter Data mode, where you can store 
edited settings or transmit data. 

If you press this button after pressing Jump button you will 
move to the reverb display. 

IQEdit (chorus) button 

Press this button to enter Edit mode, where you can edit 

(modify) the settings of a patch or sound. 

If you press this button after pressingjump button you will 

move to the chorus display. 



Jump button 

Use this button to jump to a specific display. 



IB Mark button 

Use this button to memorize the display to which you want to 
Jump. 

QI Display 

This shows the various settings and parameter values. 



|Q Volume knob 

This adjusts the overall volume that is output from the Mix 
Out jacks and the Phones jack. (This knob is effective only 
when the Fixed /Variable switch is set to Variable.) 

B3 Phones jack 

A set of headphones can be connected to this jack. Use stereo 
headphones of impedance 8—150 ohms. Sound will appear 
at the output jacks regardless of whether the Phones jack is 
being used. 



((Rear Panel)) 
B3 MIDI connectors 

Use these connectors to connect other MIDI devices. 

IQ Direct out 1, 2 jacks 

The direct sound without the effect will be output in stereo 
from these jacks. 

*When the U-220 is shipped, the direct outputs are 
turned off. 

IE] Mix out jacks 

The sound of each part processed through the effect wii! be 

output in stereo from these jacks. 

For normal use, connect these jacks to your amp /speaker 

system. 

10 Fixed /Variable switch 

This switch determines whether or not the front panel 

Volume knob will adjust the volume of the sound from the 

Mix Out outputs. 

When set to Fixed the volume will be at maximum regardless 

of the setting of the Volume knob. 

When set to Variable the Volume knob will regulate the 

volume. 

♦Turn the power off before changing the setting of this 
switch. 



Main Features 



High quality RS-PCM sound generator 

RS-PCM stands for ReSynthesized Pulse Code Modulation. PCM is a method of 

digitally recording a waveform. However simply recording and playing back the 

sound of an instrument is not enough to create a truly musical sound. 

RS-PCM sound generation uses Roland's advanced signal processing technology to 

process and resynthesize musical sounds recorded by PCM, to create realistic and 

playable musical sounds. ■ - >-.:■■ ■.-■ 

The U-220 contains 128 high quality instrumental sounds ranging from piano and 

other sounds appropriate for a classical or jazz ensemble, to the synthesizer sounds 

of rock and fusion. Various parameters (aspects of the sound) such as pitch and 

level can be adjusted for each Tone (sound) to allow you detailed control over 

timbral nuances. 

Tones from a separately sold PCM card (sound library SN-U110 series) can be 

used in addition to the tones built into the U-220, 



Multi timbral sound generator 

The U-220 contains a multi-timbral sound generator that can simultaneously 
produce 6 parts and a rhythm part The sounds (timbres) and effects of each part 
can be stored in 64 different settings as patches. When using a MIDI sequencer, this 
allows a single U-220 to produce all the instrumental sounds of an entire ensemble. 
Tone assignments and settings for the rhythm part can be stored as one of four 
rhythm setups. You can select any one of these four to use as the rhythm part. 



Multi outputs 



Voice reserve 



The U-220 has three sets of stereo output; Mix Out, Direct Out 1, and Direct 

Out 2. These output can also be used as multiple outputs. Each sound can be sent 
from its own output terminal, allowing you to use an external mixer and effect units 
to mix and process each sound independently. 



The U-220 can produce up to 30 voices at once. The voice reserve settings allow 
you to specify how many voices will be used by each part. 



Built-in digital effect 



The U-220 includes a built in digital reverb/chorus effect unit, providing a spacious 
feeling of stereo depth. Each sound patch can be given its own effect settings. 



10 



Main Features 



Jump function 

The jump function allows you to instantly jump (move) to a specified display. 
In addition to the pre-defined jump destinations, you may also define your own. 
Using the jump function allows you to edit more efficiently. 

Map function 

The U-220 allows you to create a Program Change Number map that specifies 
which sound will be selected by each incoming MIDI program change. Patches, 
timbres, rhythm sets, and rhythm instruments each have four maps. 



11 



How to use this manual 



This manual is organized into the following chapters. Read each chapter as necessary. 



Chapter 1 How to play the sounds ••••This explains how to connect the U-220 to externa! devices 

(how to prepare for playing) and how to hear the sounds. 



Chapter 2 About MIDI This explains the basics of MIDI that you will need to know in 

order to use the U-220. 



Chapter 3 Introducing the U-220 This explains how the U-220 is organized, how to view the 

displays, and basic operation. In order to take full advantage of 
the U-220 please be sure to read this chapter. 



Chapter 4 Function reference This explains the functions for each level of the U-220. 



Chapter 5 Basic procedures — rThis explains basic procedures for various operations. Refer to 

this chapter when you want to create your own sounds or use 
. the performance functions. 



Chapter 6 Supplementary materials This contains parameter lists, an explanation of the error 

messages, and help for troubleshooting. 



Front panel buttons in the text 



In this manual, front panel buttons are referred to by the name printed above {or below) each 
button. 

(Example) Edit button -* [joFF] 

Cursor button^! < I CURSOR I ► I 



12 



er 



In chapter 1 we will explain how to connect the U-220 to 
external devices (getting ready to piay) and how to hear the 

sounds. 



;v^ 



1. Getting ready to play 



a. Connections 



Connect the rear panel MIX OUT jacks to the input jacks of a keyboard amp or 
mixer. When playing in stereo, use the L and R jacks. "When playing in mono, use 
only the L (MONO) jack. Before making connections, make sure that the power 
switches of the U-220 and the amp are off. When using headphones, insert the 
headphone plug intothe -PHONES jack: • • - " ■ ■' ■-■ - ■ - ' v ' ■■.■■■>■■ 




IllWlllill 



* The U-22D does not contain a built-in power amp or speaker, and will not make sound by 
itself unless you use headphones. 

. * When shipped, the U-220 is set so that no sound appears at the DIRECT OUT jacks, 

* If you connect the U-220 directly to a stereo system, be carefu! of the output ievel. 
Excessively high levels can damage the speakers of your stereo system. 

* To take full advantage of the U-220, we recommend that you piay it In stereo. 



14 



1. Getting ready to play 



b. Turn the power on 



[Procedure] 



KJJ Check that connections for power and external equipment (amplifiers, etc.) are correct. 



Turn the power switch of the D-220 on. 

The following message wili.be briefly .displayed.. 



RS-PCM Sound Modul 
Roland U-220 



Then the patch name will be displayed. 



P-0 1 s flco u s t P i ano C S @ i 1 

RK I 01 I SI 1011 01 1 01 1 01 S 1 



Turn on the power of the external equipment {amplifiers, etc.). 



Now you are ready to play. 



After the power is turned on. the U-220's protection circuit inserts a short delay before 
beginning to operate. 



15 



2. Play the sounds of the U-220 



Here's how to play the factory preset sounds of the U-220. 



* Set your keyboard to transmit channel 1. 



CD Get the display that appears Immediately after the power is turned on. 
(We will call this the Play display.) 



P- 1 s ft coust P i a n o L 8 8 1 ] 
PX 101101181181181181118 



If the display is different press [ EXIT ] several times. 



Use [ V [ VALUE | A j to select P-fll— P-64 while playing the keyboard. 



P-84S Bri9ht EP C8843 
RX 181 1821 83 S 84 I 85 I 86 1 1 8 



The sounds that you are selecting in step © are called Patches. 

The following chapter "Introducing the U-220" will explain more about patches. 



Press PART /iNST ► 1- 



P-84: Bright EP C8843 
RX 8 811 02 I 83 1 84 I 85 I 86 1 1 8 



Press 1 V | VALUE \ A I to select T-001— T-I28 while playing the keyboard. 



T-838:Slap 1 [0383 

RX 1 ©1 1811 8 1 1 8 1 1 1 1 8 1 1 1 8 



The sounds you are selecting in step @ are called Timbres. The following chapter 
"Introducing the U-220" will explain more about timbres. 



16 



er 2 



This chapter explains the basic concepts of MIDI that you will 
need to know when using the U-220. 



7. How MIDI data is communicated 



MIDI (Musical Instrument Digital Interface) is a world-wide standard for exchanging musical data such as 
performances and sounds. If a device has MIDI, it can be connected to another MIDI device (even of a different 
type or manufacturer) to exchange musical data. 

MIDI transmits various types of musical data such as data indicating that a key has been pressed or released, or that 
a controller has been moved. When you play a MIDI-equipped instrument, it will transmit MIDI data to indicate 
the performance gestures. Another MIDI device that receives this data will produce sound just as though it were the 
instrument-being played.- ■- - ■■•■■:■-■ - - - ,.,-,,... ■, . - . ........ -. ..,.„ ..,.,..-., ,..„ ■ ,, 



This section explains how MIDI data is transmitted and received. 



a. Connections 



MIDI-equipped devices usually have three jacks; IN, OUT, and THRU. Use a MIDI 
cable to connect these jacks to the other devices in your system. 




Accepts MID! data 

Connect to the MIDI-OUT or MIDI THRU of another device 

This connector transmits data 

Connect to the MIDI IN of another device 



from the unit itself 
lh=d^ Passes MIDI data received MIDI IN 



Controlling the TJ-220 from another device 



When using a sequencer or MIDI keyboard to control the U-220 make connections as follows. 











MIDI 
OUT 








I rsB--— — ™ 




MID! 
IN 


SB 


l 


III 


If 


III 


II 


III 


II 


III 


II 


III 








■=1dS 


,00 r; i 





-MIDI Keyboard or 'MID! Sequencer 



' U-220 



18 



I.How MIDI data is communicated 



Using MIDI THRU 



MIDI THRU can be used to send the same stream of data to two or more devices. 



MIDI 
OUT 



rrrn O 
ED (33 



Sequencer 



MIDI 
IN 



MIDI 
THRU 



g=H3Ua 



a 



U-220 



■MIDI •■ 
IN 



MIDI 
THRU 



MIDI 
IN 



* !t is theoretically possible to use MID! THRU to connect any number of devices. However 
three is about the practical limit. Running a MIDI signal through many THRUs can garble 
the transmitted data. If you need to connect more than three devices please use a MIDI 
Thru Box. 



b. MIDI Channels 



MIDI uses "channels" to transmit data independently to multiple devices over a 
single cable. You can think of MIDI channels as being similar to television 
channels. You can switch channels on a television receiver to receive many 
different broadcasts. "When the channel of the receiver matches the channel of the 
transmitter, the data of that channel is received. 



Broadcasting 
1 


[ Channel 1 j 






Broadcasting 
2 


Channot 2 I 






Broadcasting 
3 


Channel 3 ! 


















Set the receiver (TV set) 
to the channel you want 
to watch. 












^__ . 




D 




a 
□ 
a 

C3 
131 

a 























Many different T.V. messages (e.g. ch 1, 2, 3) are 
simultaneously being sent through the cable from an 
antena. 



MIDI has sixteen channels, numbered I — 16. When the MIDI channel of the receiving device matches 
the MIDI channel of the transmitting device, the data will be received and the receiving device will 
produce the appropriate sound. 



19 



,How MIDI data is communicated 



Sounds 



MIDI 
OUT 



I 





MIDI 
IN 






u l,,l„l.„l„l.„l 1 


1 i-i-r-r 


£U£ 







Receive Channel 1 



-Transmit Channel 1 



Does not sound 



MIDI 
OUT 



illMilMll 



MIDI 
IN 



D 



Receive Channel 1 



Transmit Channel 2 
only Sound Module B sounds 



Sound Module A 



Sound Module B 



MIDI 
OUT 



MIDI 
IN 



iiiiimn 



MIDI 
THRU 



; as 



MIDI 
IN 



D 



Receive Channel 1 



Receive Channel 2 



Transmit Channel 2 



20 



2. MIDI data used by the U-220 

MIDI transmits data using various types of Message. The following types of MIDI message are used by the U-220. 







Note Data 






Program Change 




Channel Voice Messages 


Control Change 
Pitch Bender 
Aftertouch 




System Messages 


Exclusive Messages etc. 



Channel voice messages 



Channel voice messages are transmitted and received on a specific MIDI channel. These messages 
include basic types of musical data. 



Note: data from the keyboard 

Note messages tell how the keyboard is being played. These message indicate which key (the note 
number) was played, and how strongly (the velocity). 

Similar messages are transmitted when a key is released. For the U~220's rhythm part and for most 
other rhythm machines, each note number will play a different rhythm sound. 

Program change: data that selects sounds 

Program change messages are used mainly to select sounds. The U-220 uses program change 
messages to select patches, timbres, and rhythm setups. Devices made by different manufacturers will 
respond in different ways to program change messages. Check the manuals for your equipment. 

Control change: data for musical expression 

Control change messages are used to control musical expressions such as vibrato, hold, volume, and 
pan. Devices made by different manufacturers may transmit and receive different types of control 
change message, and respond in different ways to these messages. Consult the MIDI implementation' 
charts of your equipment to see which control change messages are transmitted and received. 

Pitch bend Change: data for pitch change 

The pitch bender lever found on many keyboards only transmits the position of the lever. The actual 
pitch change (bend range) will depend on the settings of the U-220. The pitch bend range can be set 
for each timbre of the U-220. 



Aftertouch 



The aftertouch data transmitted by many keyboards transmits the force with which you press down on 
the keyboard after playing a note. The effect this will have will depend on the settings of the U-220. 
Aftertouch is divided into "channel aftertouch" and "polyphonic aftertouch". Channel aftertouch 
transmits a single aftertouch value telling the pressure of the key being pressed most strongly, and 
affects all notes on the MIDI channel Polyphonic aftertouch transmits an aftertouch value for each 
key (note), telling how strongly each key is being pressed. This allows you to affect individual notes 
within a single MIDI channel. 
The U-220's sound generator can respond to both types of aftertouch. 



21 



2. MIDI data used by the U-220 



System messages 



Exclusive messages 



System messages contain data that control all devices in an entire MIDI system, and are received by 
devices regardless of their channe! number setting. In addition to exclusive messages (explained 
below), system messages include various types of message used by sequencers, and other messages 
that help to keep a MIDI system running properly. 



Exclusive messages contain data unique to each device, such as sound data. 

Normally these messages are transmitted and received only between devices of the same type made by 
the same manufacturer. For example exclusive messages can be used to transmit sound data to another 
U-220, or to store sound data in a sequencer. 



■ About the MIDI Implementation Chart 

MIDI is able to transmit and receive data between various types of device, but not all devices are able to transmit and 
recive the same types of data, the owner's Manual of each MIDI device has a "MIDI Implementation Chart " which 
shows the types of data that the device is able to transmit and receive, (see page 151.) 

AH Implementation Charts are a standard size, so that you can place two charts side by side to see how to devices will be 
able to communicate with each other. 

Turm\ 



MIDI 1 m pleme 



function TnmjmittBd 



ntation Chart 



fivxanina JfcraaA* 



Instrument A 

implementation Chart 



Instrument B 
Implementation Chart 



22 



This chapter explains how the U-220 is organized, how to view 
the displays, and basic operation. In order to take full advantage 
of the U-220 please be sure to read this chapter. 



1 . How the sound generator is organized 



The U-220 is organized into the following memories. 



• Tone 



A. tone is a basic sound which is used in a Timbre or a Rhythm Set. The internal memory of the U-220 
contains 128 tones, but an optional PCM card can be inserted to provide additional tones. 



Timbres 



•Timbres are the -basic fUnmof-sound which you -wilt play ."Ai , tonevis-thesbasic , elementsof«athtiinbre. 
Each timbre also contains settings which determine the pitch, vibrato, and- level of the Tone. 128 

timbres can be created (see page 64). 



Rhythm Set 



A Rhythm Set is a combination of drum sounds and settings to determine how each drum sound will 
be played, As with timbres, tones art the basic elements from which a rhythm set is made. 4 rhythm 
sets can be created (see page 71). 



Part 



The U-220 has 6 parts and a rhythm part Each part has its own MIDI channel, and can be used as 
an independent sound generator module. Each part 1 — 6 has a timbre assigned to it, and a rhythm- set 
can be assigned to the rhythm part. 



Patch 



A Patch consists of settings which determine the rhythm set or timbre assigned to each part, how the 

parts will be sounded, and settings for chorus or reverb. 64 sound patches can be created, (see page 

53.) 

Patches can be set in a variety of ways depending on how you are using the U-220. For example If 

you are creating an ensemble using just the U-220 alone, you can set each part to act as an 

independent sound generator. Or if you are using the U-220 as a single tone generator you can 

create a single sound using several parts (timbres). 



More about tones 

•Types of tone and simultaneous polyphony 

The U-220 can produce up to 30 notes (voices) at. once, but this will depend on the type of tones being-used:- 
Tones which consist ofca single voicescan play up to 30;notes. -Tones whiclrconsist of two voices can play up 
to 15 notes, (see page 65.) 

•Pitch range 
Each tone has an upper limit beyond which it cannot produce sound. Each acoustic instrument has a different 
sound-producing range, and the sound-producing ranges of the U-220's sounds are based on these ranges. 



24 



2. Memory structure 



ZMemory structure 



The U-220 can be used in a variety of ways depending on the settings of various parameters. The settings of these 
parameters are stored in various Memories. The memories are divided by function and use into the following 
areas; setup area, memory area, temporary area, and tone area. 



Setup area 



The setup area stores parameters that affect the entire U-220; master tuning, settings which determine 
how MIDI data is handled, settings which determine how. program. change data is handled, etc. 

Settings in the setup area are preserved even when the power is turned off. 



Memory area 



The memory area stores 64 patches,. 128 timbres, and 4 rhythm sets. Settings in the memory are 
preserved even when. the power is turned off. 



• Temporary area 



The temporary area is where you modify the settings of patches, timbres, or rhythm sets. When you 
select a patch etc., the settings in the memory area arc called into the temporary area. Settings in the 
temporary area are temporary, and will be lost when you select another patch etc. 



• Tone area 



A tone is the basic element of sound (wave data) from which a timbre or rhythm set is created. The 
U-220 contains 128 tones. Tones in a PCM card are also handled as part of the tone area data. It is not 
possible to change tone settings. 



When you play the U-220, the settings in the setup area and the current settings in the temporary area 
will determine how the U-220 sounds. When you select a patch, the settings of that patch and the 
timbre and rhythm set settings specified by that patch will be read into the temporary area from the 
memory area. When you select a timbre the specified part will be read. When you selecta rhythm set, 

the rhythm part will be read. 

* When we say that data from the memory area Is "read" into the temporary area, we 
mean that the settings of the memory area are copied Into the temporary area. 

The important thing to remember is that when you modify the settings of a 
patch, timbre, or rhythm set, you are modifying the settings of the temporary 
area, not the settings of the memory area. Settings in the temporary area are 
only temporary. When you select another patch or timbre these new settings 
will be read into the temporary area, and your previous changes will be lost 
If you want to keep the changes you make in the temporary area you must use 
the Write operation to write the settings into the memory area. 
When making settings, be sure to remember how the memories are related. 



25 



2.Memory structure 



Data is transferred inside the U-220 as shown in the following diagram. 



Timbre 



Temporary Area 



Patch 



Part 1 



Part 2 



Part 3 



Part 4 



Part 5 



Part 6- 



Rhythm Part 



Effect 



Read 



Timbre Name 



Writs 



Part 1 



Part 2 



Part 3 



Part 4 



Part 5 



Part 6 



Rhythm Part 



Control 



| Patch Name 



54 Patches 



Timbre Name 



Timbre Name 



3- 



Timbre NBme__J 
rora rc r 



Timbre Name 



Read 



Timbre Name 



Rhythm Set •. 



| Rhythm Set Name j 



K-*' 



Write 



Timbre Name 



128 Timbres 



Read 



Setup Area 



Master Tuning | 

Effect Switch | t J 

LCD"" Contrast j 

.. . ...MIDI , .'.j. \. ,\ 

Mai I 



Write 



| m«t | 


:-, 


j Inst | 


; ; 




£ ! 


| hist | 


I , 




' , 


| Bender j 


« ' 






1 Rhythm Set Name j 


I ! 




■ ; 


< 


■ • 





4 Rhythm Sets 



Memory Area 





"* 


■**., 




Tone Area 


.... 


■•£; 


;;--! 


128 Internal 






_,-; 


Tones 




..•; 








«v. - 


.; 












* 


** 


- 






PCM Card 






\ 






* 








PCM Card 






- 


J 



26 



3. How the sound is output 



3.How the sound is output 



The U-220 has three pairs of stereo output jacks. "When the U-220 is shipped it is set so that sound is not output 
from the MIX OUT jacks, but you can set these as required by your musical needs. 



_DIRECT OUT 2_ 
R L 



DIRECT OUT !_ 

R L 



— MIX OUT 
H t (MONO) 



a 

i FIXED VARIABLE 



Each part 1 — 6 cart be set to send its sound from any output jack (page 61). 

For the rhythm part, you can specify the output for each rhythm sound in the rhythm set (see page 79). 



Patch 



Part 1 If Part 2 



Part 3 



Part 4 



Part 5 



MIX OUT 
DIRECT OUT I 
DIRECT OUT 2 



MIX OUT 
DIRECT OUT t 
DIRECT OUT 2 



MIX OUT 
DIRECT OUT 1 
DIRECT OUT 2 



MIX OUT 
DIRECT OUT t 
DIRECT OUT 2 



MIX OUT 
-OIRfcCl OUT I 
DIRECT OUT 2 



Part 6 



MIX OUT 
DIRECT OUT 1 
DIRECT OUT 2 



f Rhythm Set 
j Bass Drum j 






1 










MIX OUT 

DIRECT OUT t 


MIX OUT 
DIRECT OUT 1 


MIX OUT 

DIRECT OUT 1 



•The chorus/reverb effect is applied to the sound from the MIX OUT jacks. The rear panel 
Fixed /Variable switch determines whether or not the front panel Volume knob will regulate 
the volume. If you want to use the front panel Volume knob to regulate the volume then set 
the switch to Variable. If you want the sound to be output at a fixed level regardless of the 
position of the Volume knob then set the switch to Fixed, When using a mixer to adjust the 
volume, set the switch to Fixed. 

•The chorus /reverb effect is not applied to the sound from the DIRECT OUT 1 II jacks. The 
volume will always be at a fixed level regardless of the Volume knob. 

* Even if you specify that the sound be output from the Direct Out jacks, the sound will be 
output from the Mix Out jacks (without the effect) if the Direct Out jacks are not used. {The 
volume can be adjusted by the Volume knob.) 



27 



3.How the sound is output 



Mn addition to the output jack selection, each part has Its own pan setting to determine the 
stereo position (page 62). Each rhythm sound in a rhythm set has its own pan setting (page 
79). By setting the output selection and pan of each part as shown in the following diagram, 
you can send the sound of each part from its own output jack. 

7> : outou; only from left (L) 
< 7 : output only from t iohl (R) 



Patch 



Part 1 



Part 2 



'Part '3 



: Part 4 



Part '5 



Part 6 



Outout jack 

Pan 



MIX OUT 
7> 



MIX OUT 
<7 



DIRECT OUT 1 
7> 



DIRECT OUT 1 
<7 



DIRECT OUT 2 

7> 



DIRECT OUT 2 
<7 



MIX OUT/L t DIRECT OUT 1/L t DIRECT OUT 2/L 

MIX OUT/R DIRECT OUT 1/R DIRECT OUT 2/R 



f Rhythm Set 








\ 


c 


Bass Drum j 


[ Rim 




Ride Cymbaf | 




Outout jack 
Pen 


MIX OUT 
7> 


MIX OUT 
<7 


DIRECT OUT 1 
<7 




1 

MIX OUT/L 


V 


> • 





MIX OUT/R 



DIRECT OUT 1/R 



28 



4. How MIDI data is received 



The following diagram shows how the U-220 receives MIDI data. 



Patch 



Timbre 



MID! Data 
Audio Signal 



Rhythm Set 





Control 




▼ 


', 




IN 






/ 


p> 




/f^\ 






* 


; 


To Outr. 






Part 1 (Receive Channel) 


I 




.Km 




















V 






* 










part 2 (Receive Channel) 








THRU 






* 




xsg^ 


* 










Part 3 (Receive Channel) 






Vo!^ " 






i 1 j . 






^~^j-^ 


▼ 


j 








Part 4 (Receive Channel) 


i 










; 












♦ 






♦ 










Part 5 (Receive Channel) 


! 






- 
















s 






♦ 










Part 6 (Receive Channel) 


























Rhythm Part (Receive Channel) 

A 









•Each part receives MIDI data on Its own MIDI channel (page 19). For example when part 1 
receives note data, it will sound using the timbre assigned to part 1. Program change data can 
select timbres or rhythm sets. In addition, control change data can affect the sound of timbres 
in other ways. 

•In addition to the MIDI channel for each part, there is a Control Channel (page 46) for 
selecting the patch. On the control channel, program changes can select patches, and control 
change data can adjust the settings of the effect unit 



Program change data The U-220 can receive program change data to select the following. 





Data selected by program change 


Control Channel 


Patch 


MIDI channels of parts 1—6 


Timbre 


MIDI channels of Rhythm part 1—6 


Rhythm Set 



29 



4.How MIDI data is received 



Each incoming program change can select the patch / timbre / rhythm set shown in the following 
table. You can change these assignments if you wish. 



Patch. Number 



P-01— 64 



Program Change Number 



1—64 



Timbre Number 



T -001—1 28 



Program Change Number 



1—128 



Rhythm Set Number 



R.I— 4 



Program Change Number 



1-4 



A set of correspondences between program numbers and memories is called a 
Map. 

You can create four maps of your own for each type of memory. By arranging 
program numbers in the order of their use in a live performance, you will be able to 
select the right sound for each song using consecutive program changes. For details 
refer to "Function reference" (page 49). 





Four types 



Four types 



Four types 



Control change data 



The U-220 receives control change data to control modulation, volume, pan, etc. In 
addition, you can adjust the settings of a specified parameter using control change 
data. Each patch has settings which specify which parameter will be regulated by 
which controller. For details refer to "Function reference" (page 56). 



30 



5. Operation 



S.Operation 



This section will explain how the U-220's operations are organized. The following chapter "Function reference" 
will explain how to modify each type of parameter, but this section will help you understand the overall flow of 
operation. 



a. Operation modes 



The many operations of the U-220 are grouped in the following three modes. 



PLAY 



EDIT 



Setup 



Patch 



DATA 



Timbre 



Rhythm 



Write 



Bulk 



Init 



Util 



Play mode 
(page 42) 



You will normally play the U-220 in play mode. You can also check patch 
settings and part settings. 



Edit mode 
(page 45) 



In edit mode you can edit (adjust or modify) the various control settings and 
sound (patch/timbre/rhythm set) settings. Editing always affects- the 
temporary area, and your edited settings are temporary. If you want to store 
your newly edited settings, you must use a data mode operation to write them 
into memory. 



Setup settings (edits) directly affect the setup memory, not the temporary area, so the 
write operation is not necessary. 



Data mode 
(page 80) 



In data mode you can write your edited settings into memory, or transmit data 
via MIDI (bulk dump). In addition, you can initialize settings or monitor the 
MIDI data being received. You can also listen to the U-220's demo 
performances. 



31 



5.0peration 



b. Operation procedures 



The various groups of parameters you edit in Edit mode and the various operations 
of write/data transmission/initialization in Data mode are grouped into the 
following levels. 

•Edit mode contains -menu'. displays from --which: you -will :seiecHthe parameter -group, and 

parameter displays in which you modify the value of the parameters. 

First select the group of the parameter you wish to edit, and then move to the parameter 

display. Next select the parameter you wish to edit and modify the value. 

•Data mode contains displays from which you will select the write /data transfer /initialize/ 
utility function, and displays in which you specify the unit of data. First select the desired 
function. Then specify the unit of data and execute the operation. 



As explained in the following procedure, press the buttons to move to each level. 
Then select and modify the parameter. You can also use the Jump function (page 37) 
to move quickly to a desired display. 

© Press | EDIT""] or I DATA 1 to select the operation mode. 

Then use QD CURSOR 1 ► [ and | ENTER"! to move to the level of the parameter 
you wish to modify. 



When you reach the desired parameter, use j V 1 VALUE [Al to change the 
setting or value. 



Press j EXiTl to return to the desired display. 

*When you want to modify the same parameter for different parts In a patch, use 
(jjjjjr] PART/INST [ ► ') at step (2) to move between parts. 

(You can also use j -4 j PART/ INST j ► | to move between timbres or rhythm 
Instruments when editing a timbre or rhythm set.) 



If you loose track of where you are, press [ EXIT [ several Ume to return to the play display. (Or 
hold i JUMP I and press [V~J VALUE .) 



p-0 1 s flcoust P i a no L 89 i J* 

RX 1 9 1 i 8 11011811 1IQ11 1.0 



32 



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5. Operation 



How to use the buttons 



Return to a higher level 



Select the mode 
Edit Mode 



Data Mode 



'EDIT 'DATA 



CHORUS REVERB 



MARK JUMP 



Move between parts (1—6) 
Move between timbres (1 — 6) 
Set the Rhythm Inst 

Execute a command 

Move to a tower level 



"EXIT 



'ENTER 



CURSOR 



PART/INST 



V VAUJE A 



Move between parameters 



Modify the parameter values 
Modify settings 



EDIT 



DATA 



AJ CURSOR ► 



ENTER 



V VALUE A 



<4 j PART/INST ► 



EXIT 



Press this button to move to edit mode. 

Press this button to move to data mode. 

Use these buttons to select parameters that are in the same level. 

Press this button to move to the next lower level. 

Use these buttons to modify parameter values or settings. 

Use these buttons to move between parts (parts -1—6) in a patch. When editing a timbre, use 
these buttons to move between timbres (timbres 1—6). When editing a rhythm stt, use these 
buttons to move between instrument numbers {Bl — D7). 

Press this button to return to the next higher level. 



The upper line of the display will show the levels through which you have moved 
as you progress down toward the parameter level 

The level to which you have entered 



Edi-U'Setup.'TilDI 

< Rx SysEx = Off 



Parameter 



35 



5.0peratior! 



(Example) 



Operation 



"EDiTl 



i 

H3 cursor E 

I 



Level 



EDIT 



£ 



1 ENTER 1 — Setup 

I 



Q]CURSOR[F] 

I 
i 



~& 



MIDI 



HjcursorCH n 



Rx SysEx 



Edit 



Display 



1 S Patch S T i Fibre S Ry thro 



Ed it. --"Set up 

M. Tune I Ef otl LCDIfllEffi Map 



Edit--Setup--MIDI 

Rx Control Ch=16 



Edit.-'Setup.--MIDI 

< Rx SysEx =1® t 



* The " -4 " and M %■ " in the display indicate that other parameters exist at the same level. 

In data mode there will be the following additional display to execute the selected 
operation. This display will appear whenever you are about to write data or 
initialize. 



Da t a .-•• * ** ,•":+:*:+: 

Sure? CUflLUEA: s C EX IT 3 



When execution is complete the following display will appear. 



Data s #**>***# 

F u n c t i o n C on p 1 e t ed , 



After a short time the previous display will reappear. 



36 



5.0peration 



The Jump function 



Frequently used displays in the U-220 have been preset so that you can use the 
JUMP button to move quickly to them. This is called the Jump function. 



While holding | JUMP [ press the button for which the desired display has been preset. Page 38 
hasa.llstof, the. preset jump displays .(functions). 



•It is not possible to change the preset jump display (function) destinations, but 
you can use the MARK button to mark any display (function) to which you wish 
to jump. Page 39 lists the displays that are marked by the factory settings. 



[How to mark a Display} 



\JJ Select the display you wish to mark. 

in all displays the location of the cureorwill also be marked. 



Press 1 MARK J . 



Press the button for which you want to mark the display. 



.Press one of these buttons 



EDIT 




DATA 




II 





CHORUS REVERB 
I I 

MARK JUMP 



EXIT 




ENTER 


PART/INST 




II 




| 


|| 


| 



^ CURSOR ^_ 


V VALUE A 




|| 




| 


|| 





To move to the display you have marked, press j JUMP l and then press the button 
for which you have marked the desired display. (This procedure is also used to 
jump to the displays marked for ] EDIT I and j DATA 1 .) 

* If you want to restore the marks to the factory settings, you can initialize the marks 
(see page 93). 



37 



5.0peration 



Preset jump functions 



The following jump functions have been preset, and cannot be changed. 



While holding 



JUMP 



or 

After Pressing 



JUMP 



rgDin 



fDATA 



The display to set the chorus of the patch 



Ed i t .--Pa toh.--Ef f ec t .••'Chorus 

:+:*::+::+::+::+::+: :+::+: :+::+::+::+::+::+::+::+: :+::+::+: H-: :+: :+: :+: 



The display to set the reverb of the patch 



E d i t- ••••" P a to h ••*■ Ef f e c t- ••-* R e ver b 

He*********************** 



While holding 
IJUMPI 



The display to transmit the parameter group currently 
being edited 



EXIT I 



Data--*Bu 1 k x**** 



The display to write the parameter group currently being 
edited 



ENTER 



Data.-'Ulr i te--'**** 



♦ You can jump hare only from edit mode. However you cannot jump hare 
from editing the estop parameters which do not need to be written into 
memory. 



ren cursor 



Move to the next parameter group 

(Same as rE^TTI — R1 CURSOR- 1 ENTER I ) 



CURSOR E 



Move to the next parameter group 

(Same as IWTT] -CURSOR |"F1-» | ENTER I ) 



S3 PART/iNST 



Return to the previous display you passed through 
(up to 32 displays) 



PART/INST [H 



Advance to the next display after returning to previous 
displays 



IE] VALUE 



The play mode .display .where you last were 



The display to play ROM demo 
(the song previously selected) 



VALUE ED 



Data^Ut i 1 -'ROM Play : Stop 
b o n 9 #*** *************** 



38 



B.Operation 



Settable jump functions 



The following jump functions have been set at the factory. (You can change these if 
you wish.) 



After Pressing 








Ed i t.-"Patc.rv'Part. i .--M I D I 

Rx Ch=8i > 




(exit! 












Ed i t--'T i fibre 111 •••-Tone 
Tone = 1-892 ft. PIANO 4 




1 ENTER j 






H3 CURSOR 






Ed i t.-*PatcrVR . Part 
4 Rx Ch=19 








CURSOR EB 






Ed i t--*Rhy t hns I nst.-"Tone 
Bi : 1-128 DRUMS *► 








jJUMPl 


HI PART/INST 






Ed i t--*Pa terv'Part 1 .--Output 
fts9n=Dry Pan=7< fr 








PART/INSTFJEJ 






Ed i t.--Patch-''Part 1 ••••Output 
4 Leve 1=127 








L2] VALUE 






Ed i t-f Patchy-Part 1 si) . Rsv 
U o i c e Reser '...' e = 6 C 3 1 








VALUE E] 






Ed i t-'T i Fibre tin .'-Ley e 1 
Level = 180 Uelo Sens=+7 1- 









39 



7. Play Mode (Play) 



In play mode you can view the effect settings of the patch and the settings of each part. 



R-15 Standard Set ESS 13 



Part. J 



T~Q3@rS'lap "'1 "'■•"" """ VBSm ~" 



P-Sls fiooust Piano C081D 
RK S S 1 i ** f S3 1 ■!' I ** I 07 S 1 S 



OUT S Mx I ** I D2 1 Mx I ** I D 1 8 



EFT I -R 1 ** ! — I C- I ** I CRI 



PfiH I Rn I ** i 2 > I >< i ** i < 7 



RSUi 81**1 51 ii 1**1 7 



(2) 



(3) 



(4) 



(5) 



PART/INST 



CURSOR 



The top line shows the currently used patch name, timbre name, or rhythm set name. 
Use j -4 | PART/INST | ►■ j to move between the following displays, 

Patch 4* Part 1 ** Part 2 «- Part 3 «- Part 4 4» Part 5<» Part 6 « Rhythm part 



Use j \7 j VALUE j A 1 to select patches, the timbre of each •part, or the rhythm set of the rhythm 
part. 



The program change number which corresponds to the patch or timbre is displayed in square brackets 
[ ]. If no program change is assigned to the patch, timbre, or rhythm set, this will display [ — 1. 



Map (Patch, Timbre, Rhythm Set) 



Transmitted 

Program Change Number 




If *H** is displayed in the [ ], the program change reception switch is Off for the selected patch, 
timbre, or rhythm set 

-.(Example) 



Edit/Setup/MID I 
<Rx Patch Chan9e : 



42 



I.Play Mode (Play) 



" It more than one program change number is assigned to the same patch number, the 
lowest-numbered program change will be shown. 



3 atch 


Map 


2-1 


4- 


1 


8-1 

r-x 



(Display) 



/ 



P-01: ficoust Piano twmi 
,.RK X81J.B1 l.aiJ.01 I £11 1811 1£1 



Transmitted U-220 

Program Change Number 

The lower line shows the reception. channel and output for each part. 
Use | A j CURSOR f ► I to switch the display as follows. 

RX (reception channel) » OUT (output assign) » EFT (effect) « PAN (pan) «* RSV (voice 
reserve) 



The cursor in the upper line corresponds to each part. 



T-030sSlap 1 E0363 

OUT 1 Mk I ** 1 D2 1 Mx 1 ** i d i I 



1111111 

Part 1 Part 2 Part 3 Part i Part 5 Part 6 Rhythm Part 



(1) RX (1—16, **. J>) 



This shows the reception channel setting of each part, and also serves as a simple 
monitor of which parts are sounding. 

1—18 : reception channel number 
* * : not receiving (off ) 
J) : now sounding 



(2) OUT (Mx. D1. D2, **) 

This shows the output setting of each part. 



Mx 
D1 
D2 
** 



MIX OUT 

DIRECT OUT 1 

DIRECT OUT 2 

not used, since the reception channel is off 



• The rhythm part will not be displayed. 



43 



l.Ptay Mode (Play) 



(3) EFT CCR, C-, -R, . **) 

This shows the chorus /reverb setting of each part. 

CR : from chorus to reverb 
C - : chorus only 
- R : reverb only 
■ ■■• -■- i-thesetup effect settings for.choruSiaRdrreverb ar& both off 

* * : not used, since the reception channel Is off 

jS The rhythm part will not be displayed. 

(4) PAN (7 > •■ 1 >, X, < 1 ■• < 7, Rnd, * * ) 

This shows the pan setting of each part. 

7 — 1 > : panned to left 

> < : panned to center 

< 1— 7 : panned to right 

Rnd : random pan change for each note 

* * : not used, since the reception channel Is off 



•£ The rhythm part will not be displayed. 
Left Right 

Center 



O 



o 



o 



O 



7> 



>< 



<7 



(5) RSV (0—30, J>, **) 



This shows the number of reserved voices for each part. 

0—30 : number of reserved voices 

J5 : notes are sounding which exceed the number of reserved voices 
* * : not used, since the reception channel is off 



44 



2. Edit Mode (Edit) 



2. Edit Mode (Edit) 



In edit mode you can edit setup, patch, timbre, and rhythm set data. Edited settings are temporary, and will be lost 
when you select another patch /timbre /rhythm set. If you want to keep the current settings, you must write the 
data into memory. 



Precautions when editing 



While editing, you can hold | JUMP l and press ] ENTER"] to move to the display for writing 
the current parameter.. By holding. ! JUMP . | and pressing |_£XijJ vou can move to the display 
for transmitting the current parameter. 



If you press ] ENTER 1 while editing, the value of the selected (blinking) parameter will be 
transmitted from MIDI OUT as a system exclusive message. 
However Setup /MIDI or Setup /Map settings will not be transmitted. 



E d i ts P a t- ch.'- P ar t 1 so u t-pu t 
< Leuel=127 



For example If you press | ENTER I from the above display, the volume level setting (127) for 
part 1 will be transmitted. 



If you have selected the setup parameter master tune, It will be transmitted from MIDI OUT as 
a control change. 



a. Setup settings (Setup) 



These settings affect the setup. Setup settings are always memorized, and there is no 
need to write them after modifying the settings. ■» 



[Example operation] 



) Use H3 CURSOR Eto sele ct "Setup" 
(blinking) and press j ENTER I 



© press ripm 



© Use [S3 CURSOR E to sele ct "MIDI" 
(blinking) and press I ENTER I 



Ed i t/Setup^MIDI 

< ftx SysEx = Off 



Other parameters exist at same level 
Use H] CURSOR E to select 



Use [3 VALUE E] to modify the value 
* The value of the currently selected parameter will blink. 



* Return to the play, display by pressing flXlTl several 
times. __„^_ 
(or hold IJUMP l and press [§] VALUE) 



45 



ZEdit Mode (Edit) 



Master Tune 



Master Tune 427.4Hz— 452.9Hz 

This adjusts the pitch of all parts. The displayed value indicates the frequency of A4. The decimal 
place is approximate. 



..Ed i t.-'Setup^'M . £une —...,..—: 
Master Tune=448 . 8Hz 



I Effect 

Chorus On /Off 



Chorus can be turned on /off regardless of the patch settings. When this is turned off, there will be no 
chorus effect even if chorus is turned on for individual parts in the patch. 



Reverb On /Off 



Reverb can be turned on /off regardless of the patch settings. When this is turned off, there will be no 
reverb effect even if reverb is turned on for individual parts in the patch. 



E d i t-.'"Se tup ■••*' E f f ' e c t 
C h o r us -On R e uer b =0 n 



LCD 



* The on /off settings for chorus/ reverb are memorized even If you change patches. 

* The effect sound is output from MIX OUT L and R. 



LCD Contrast 0—15 



This adjusts the contrast of the display. 



Edit/SetUFv-LCD 

LCD Contrasts 1 



MIDI 



Rx Ctrl Ch (Rx Control Channel) 1—16 

This specifies the channel on which program changes will be received to select patches. 

This also determines the channel on which control change data is received to modify effect parameters 

(page 56). 



Edit^Setup-'MIDI 

Rx Control Ch=16 



46 



2.Edit Mode (Edit) 



Rx Patch Change Mapl— 4, Dir, Off 

This determines how program change data is received to select patches. 



Edit.-'Setup.--riIDI 

<Rx Patch Chang e= Dir ► 



Mapl— 4 : When a program change Is received the .patch.speclfled. fay the map will 

be selected. 
Dir : When a program change Is received the correspondingly numbered 

patch will be selected. 
Off : Program changes will be ignored. 

Rx Timbre Change Map 1—4. Dir, Off 

This determines how each part of the patch will receive program change data. When a program change 
is received, a timbre will be selected for the part which is receiving that channel. 



Edit.-'Setup.--NIDI 

<Rx Ti fibre Chan9e=Dir ► 



Map1— 4 : When a program change Is received the timbre specified by the map will 

be selected. 
Dir : When a program change is received the correspondingly numbered 

timbre will be selected. 
Off : Program changes will be Ignored. 



* If the control channel Is the same as the channel of the part for which you want to select 
timbres, an incoming program change will first select the patch and then select the timbre." 

Rx Rhythm Change Mapl— 4, Dir, Off 

This determines how program change data is received by the rhythm part. 
When a rhythm part receives a program change it will change rhythm sets. 



Edit..--Setup.'-MIDI 

<Rx Rhythm Chan9e=Dir > 



Mapl— 4 : When a program change Is received the rhythm set specified by the map 

will be selected. 
Dir : When a program change Is received the correspondingly numbered 

rhythm set will be selected. 
Off : Program changes will be Ignored. 

■* If the control channel and the rhythm part channel are the same, an incoming program 
change will first select the patch and then select the rhythm set 



47 



2.Edit Mode (Edit) 



Rx R.Inst Assign (Rx Rhythm Inst Assign) Map1— 4, Dir, Off 

This determines how the rhythm part will receive note data. 



Edit.-Set.up/MIDI 

<Rx R. Inst fi££igri=Dir" ¥■ 



Mapl-^- ;:~When.note-d^ 

the selected map. 
Dir : Note data will be received. Note numbers will not be converted. 

Off : Note data will be Ignored. 



Rx SysEx (Rx System Exclusive) On, Off 

This determines whether exclusive messages will be received or not. 



Edit---Setup.-'MIDI 

■4 Rx SysEx = Off > 



On : Exclusive messages will be received 

Off : Exclusive messages will not be received 



While an exclusive message is being received the following display will appear. 



Re c e i ■.,« i n 9 S y sEx 



Device ID 1—32 



When sending and receiving exclusive messages, the two MIDI devices must be set to the same device 
ID number. Exclusive messages will not be received unless the device ID numbers of the two devices 
match. 



Edit.--Setup.-'MICa 

4 SysEx Device ID=17 



48 



2-Edit Mode (Edit) 



Map 



The U-220 allows you to create Maps to specify which sound is selected by each incoming 
program change number. This allows you to select any sound using any program change 
number. Patch, timbre, rhythm set, and rhythm instrument each have four maps. 







Map : 

• Patch 
•Timbre' 
■ Rhythm 


Sat 




Number : 

• Patch (P-01 - p-64) 

i -Timbre CTOD1 -1-128) 

• Rhythm Sat (R-1 - R-4) 




'' "1* ' 






1-2 - 

3 — Dir ■ 

6—4 - 
7-* Off 




2 










3 


Message 




4 














U-220 


















Edit.-"S 
Pate 


s-tup-'-Map/Patch 
"i Mapy #821 *Q64 





When I is displayed you can set the map from the U-220's controls, 

•When setting the map, you can specify the number from the U-220 and also from 
an external MIDI device. Use the following procedure. 



Keyboard 



Map 



1 !— ™ p—jr — , 

tj}B3 o*a cib cDODDoan * — • t\ 1 

— °°°° BO ! A — °°° 


— — The number <* '" 
you wish to set 


■1-2 
•3-20 

6-4 

7-10 


^Iiliiiiifflffi 





[Procedure] 

© While holding | JUMP [press I MARK I. 



E d i t /Se t u p .-"M ap.-'P a to h 
Patch Mapl> #Q2i +064 



This is the same for Timbre, 
Rhythm, and R. Inst Map 

The ! will change to > . 



49 



2-Edit Mode (Edit) 



When you transmit a program change from the connected keyboard, A will change to that 
number and the number B which is currently set for that program change will be displayed. 



Use r^Tl CURSOR ! ►• | to move the cursor to B and use j V | VALUE ! A j to specify the 
memory number you want the program change to select. 



■ -With -the .cursor located at B yoa-can :repeat. steps ©and:© to'sct,"program £hange.'iiumberv>from the 
keyboard. 

* When setting the rhythm instrument map, set the U-220 and the keyboard to the same 
transmission /reception channels (page 59). 

* When selecting a patch from the keyboard while playing, transmit the program change on 
the control channel. 

When selecting a timbre, rhythm set, or rhythm instrument, transmit the program change 
data (note data for a rhythm instrument) on the same channel as the reception channel for 
the part you want to select. 

@ Once again, hold 1 JUMP [ and press 1 MARK j and the > will return to : . 



Patch Map (Patch Change Map) 1—64, Dir, Off 

This setting determines how program change numbers are related to patch numbers when selecting 
patches from an external MIDI device. Each patch map determines how the 128 program change 
numbers correspond to the 64 patches. 

Four patch change maps can be set. The Rx Patch Change parameter determines which of these four 
maps is used, (page 47.) 



1-54 

Dir 

Off 



The patch number that will be selected by the Incoming program change 
The Incoming program change will select the patch of the same number 
The Incoming program change will not change the patch 



Transmitted 

Program Change Number 



Map 




The sound assigned to U-220 program change 
number 2 will be selected 

The sound assigned to U-220 program change 
number 2 wilt be selected 

The. -program change will be recived, but the 
sound will not change 



Ed i t--"Set.uP.''Mai=- 

Pa tch Mapl: #921 +964 



50 



2-Edtt Mode (Edit) 



Timbre Map (Timbre Change Map) 1—128. Dir, Off 

This setting determines how program change numbers are related to the part number of each timbre 
when selecting the timbre of each part from an external MIDI device. Each timbre map determines 
how the 128 program change numbers correspond to the 128 timbres. Four timbre change maps can be 
set. The Rx Timbre Change parameter determines which of these four maps is used, (page 47.) 



.1—128 . : The timbre number that will be selected. by the Incomlngprogram change. 
Dir : The Incoming program change will select the timbre of the same number 

Off : The Incoming program change will not change the timbre 



Ed i t.-*Set.up.-*Map 

Ti nbre Map is #049*041 



Rhythm Map (Rhythm Change Map) 1—4, Dir, Off 

This setting determines how program change numbers are related to the rhythm set when selecting the 
rhythm set of the rhythm part from an external MIDI device. Each rhythm map determines how the 
128 program change numbers correspond to the 4 rhythm set numbers. Four rhythm change maps can 
be set. 
The Rx Rhythm Change parameter determines which of these four maps is used, (page 47.) 



1—4 : The rhythm set number that will be selected by the Incoming program 

change 

Dir : The Incoming program change will select the rhythm set of the same 

number 
Off : The Incoming program change will not change the rhythm set 



Ed i t--'Set.up.-"Map 

Rhythfi Map is #122*683 



51 



iEdit Moda (Edit) 



R.inst Map (Rhythm Inst Map) Bl — D7, Dir, Off 



MIDI 
Message 



Rhythm inst Number (B1-D7) 



Rhythm Inst Map 
(Bl - 07, Dir, Off) 



B2^C1 - 
C2-»-Dir- 

G5^0ff 



81 



CI 



C2 



D7 



U-220 



This setting determines how key numbers of an external MIDI instrument are related to the key 
numbers of the U-220 rhythm instrument. Each rhythm instrument map determines how each MIDI 
key number corresponds to each rhythm instrument number. Four rhythm instrument maps can be set. 
The Rx R.Inst Assign parameter determines which of these four maps is used, (page 48.) 



Bl— D7 : The key number of the rhythm Instrument which corresponds to each 

Incoming key number 
Dir : The Incoming key number will play the rhythm Instrument of the same 

key number 
Off : The incoming key number will not play a rhythm Instrument 



Ed i t-'Set-up^Map 

R . I nst Ma p2 : C-1 *D i r 



52 



2£dit Mode (Edit) 



b. Patch setting (Patch) 



A patch consists of part settings, effect settings, etc. 64 patches can be stored in 
internal memory. Edited settings are temporary. If you want to keep your edited 
settings you must write them into memory (page 80). 




CD Press fEW 



[Example operation J 

© Use Hj CURSOR FF1 [to sele ct "Patch" 
(blinking) and press I ENTER 1 

) Use RT1 CURSOR fFlto sele ct "Part" 
(blinking) and press | ENTER j @ Use Q] CURSOR [F) to select 



/ 



"Output" (blinking) and press !. ENTER"! 



Ed i t..--'Pa tcrVPar t i ^Output 



flsgn-Dry 



Use H3 CURSOR fF] to select the 
parameter you wish to modify 



UseH]PART/!NSTCE]to select 
the part you wish to set 



Pan 



|= (K 



Naming (Name) 



Other parameters exist at same level 



Use [JO VALUE f2D to modify the value 

* The value of the currently selected parameter will blink. 

* Return to the play display by pressing flXlTl several 
times. 

(° r hold I JUMP] and press RVALUE) 



Patch Name 



Each patch can be given a 12-character name. 

Usc 1 < 1 CURSOR 1 ► | to move the cursor and use j V \ VALUE pAl to change the character 
located at the cursor. 



Ed i t.-'Pat.crv"HaFie 
P at. ch N aroe=E* ft e 1. 1 essBas s 



* The following characters can be used : space A — Z a — z — 9 - / + * . :; = !"# 
%&*()<>{} E ] _?J> 



53 



>Edit Mode (Edit) 



Effect 



Chorus /"Ranger 



These are the chorus and reverb settings. 



Type Chorusl, Chorus2, FB-Chorus, Fianger, Short Delay 

■ ■■■ Select the type- ofxhorus from- the foliowingifive.'types. 



Ed i t/Patch/Ef f -eot/Choru: 

Type=FB~Chor*us 



Choaisl 


Rich spacious effect 


Chorus2 


Deep ensemble effect, especially effective for layered strings. 


FB-Chorus 


An effect midway between chorus and fianger. 


Fianger 


An effect of strongly emphasized shifting overtones, especially effective 
on sounds with a strong overtone structure such as HEAVY.EG. 


Short Delay 


A delay repeated in a short time. 



Out (Output Mode) Pre Rev, Post Rev 

This determines how the chorus and reverb are connected. The output assign setting (page 61) of each 
part will determine which effects are used. 

Pre Rev : Reverb will be added to the sound that has been processed through the 

chorus. 
Post Rev : Reverb will not be added to the sound that has been processed through 

the chorus. 



Ed i t/Patch/Ef f ect-/ Chorus 
•4 Out. =P re Rev Level =24 ► 



Pre Rev 














Post 
Dir2 


Rev 




* L DIRECT OUT 2 


wrd - fj niRFfrr out 7 


uin 


?" £ LMKfcU t UU i I 


Uir1 








" S UIHttj 1 UU ' ' 


Dry 


' ^i 


Dry 














Reverb 
/Delay 


_b 












_J 


MIX OUT 


Rev ' 


> *■ 


i Z n MIX OUT 




Reverb 
/Delay 








"1 


V ■* 




Rev 






1 


\ 


' -^ n 




Chorus 


















> 


v *- " 


Cho * 


















Chorus 










Cho 





















54 



ZEdit Mode (Edit) 



Level 0—31 



This determines the volume of the effect processed sound. 



Ed i i.'-Pat-ch.-'Effect .••-Choru: 
< u t = Pr- e Rev L e ve 1 =2 4 : 



Delay Time 0—31 



This adjusts the internal delay time of the chorus/ fl anger. 



Ed i i-'Pat-crVEf f ect^Chor u< 
< Del ay Tir--ie=5 Rate=18l 



* For Chorus 1,2, and FB-Chorus, higher settings will result in a more spacious effect. For 
Flanger, lower settings will result In a stronger flanging effect. Higher settings will be 
closer to a chorus effect. 
For Short Delay, this adjusts the timing of the repeats. 



Rate 0—31 



This adjusts the modulation frequency of the chorus /flanger. 



Ed i t'- Pa tch.-'Ef feet xGhorus 
< Del ay Tine=5 Rate- 181* 



* This Rate setting has no effect when Short Delay is selected. 



Depth 0—31 



This adjusts the depth of the chorus or flanger effect. 



Ed i t.--Patch---Eff eGt-.-'Choru: 
4 Depth=10 Feedback =±8 1 



Feedback —31— +31 



* This Depth setting has no effect when Short Delay is selected. 



This determines the amount of feedback for the flanger or delay. The phase will be different for 
positive ( + ) or negative ( — ) settings, and the effect will change. 



Ed i t.-*PatcrVEf ■ f eet,'Chor-us 
■4 Depth— 18 Feedback =±S* 



* For Flanger and FB-Chorus this will change the character of the effect. For Short Delay 
this will determine the number of repeats. For Chorus 1, 2 it has no effect. 



55 



ZEdit Mode (Edit) 



• Reverb / Delay 

Type Room 1—3. Hal! 1—2, Gate, Delay, Cross Delay 

This selects the type of reverb/delay. 



Ed i t--'Patch.--Ef feet- -"Reverb 
Typ©=Ha 111 T i r-»e= 1 8> 



Time 0—31 



Room 1—3 


Sharply-defined reverb with a broad spread 


Hal! 1, 2 


Smooth reverb, with greater depth than Room 


Gate 


A sharply muted reverb ; i.e.., "gated" toprocedure an artifically fast decay 


Delay 


Standard delay effect 


Cross Delay 


Delay repeats pan to left and right 



This adjusts the reverb time. 



Edit.--paicl-VEff 

Type=Halli 



:.t > ..--* , Re , ... , er*b 

Time=i8S>- 



* When Delay or Cross Delay has been selected, this adjusts the delay time. 



Level 0—31 



This adjusts the level of the reverberant sound (delayed sound). 



Ed i t. ■■-'P. a to h s'Ef'f" e c t» ••" Rev e r b 
4 Level =9 Delay FB=12 



Feedback 0—31 



This adjusts the number of delayed repeats. 



Ed i t.-'F'a tcrVEf f ect-'-'Reverb 
«l Level =9 Delay FB=12 



* This parameter Is effective only when Delay or Cross Delay is selected. 



Controller (Ctrl) 



Control change data from an external MIDI device can control three parameters of the U-220. 
This allows you to control parameter values or timbres or effects from an external MIDI device. 
You can specify the three control change numbers that will be received, and the three 
parameters which will be controlled by each control change. 



56 



2.Edit Mode (Edit) 



Prm # (Control Number) 0—5, 7—31, 64—95, 

This selects the three control change numbers that will be received. 



Ed i t--Pat ch--'Ct.r 1 
P r r«"i I =# f f T i n b r e L e Me 1 ► 



Edit---pat.Gh.--Ctrl 

4j Pr r«2=#92 Env Rit-ack > 



Edit..''PatGl-VCtrl 
*Prn3=#92 R-Bend Rate 



Parameter Select 



This specifies the U-220 parameters that will be affected by each control change. 

* If you have specified a timbre parameter, send control change data from a sequencer or 
keyboard on the reception channel of the part you wish to control. 

* If you have specified an effect parameter, send controi change data from a sequencer or 
keyboard on the controi channel. 

Selectable Parameters 





Display 


Parameter 


Timbre Parameters 


Timbre Level 
Env ft t tack 
Env Decay 
Env Sustain 
Env Release 
ft. Bend Depth 
ft'. Bend Rate 
Detune Depth 
Uib Rate 
Uib Waveform 
Uib Depth 
Uib Delay 
Uib RiseTiroe 
Uib Nod Depth 


Timbre Level 
Env Attack Rate 
Env Decay Rate 
Env Sustain Level 
Env Release Rate 
Auto Bend Depth 
Auto Bend Rate 
Detune Depth 
Vibrato Rate 
Vibrato Waveform 
Vibrato Depth 
Vibrato Delay 
Vibrato Rise Time 
Vibrato Modulation Depth 


Effect Parameters 


Chrs Level 
Chrs Rate 
vChrsFeedbaok 
Rev Leve 1 
DlayFeedback 


Chorus Level 
Chorus Rate 
Chorus Feedback 
Reverb Level 
Delay Feedback 



57 



2.Edit Mode (Edit) 



■ Part settings (Parti— 6) 

These settings are made for part 1 — 6 of each patch. 
• Timbre 
Timbre (Timbre select) T-001— T-1.28 ,.,..... 

This specifics the timbre which will be used for each part 1 — 6 of the patch. 
Use 1 V I VALUE ! A I to select timbres. 



Ed i t~''pat.ch.-"Par t i -'T i nbre 
T i robr =T-0@ 1 s ft , p i ano 2 



Voice Reserve 



Voice Reserve 0—30 



The Voice Reserve parameter is effective when using the U-220 as a multi-umbra] sound module. 
Voice reserve determines the minimum number of voices (notes of polyphony) that will be reserved 
for each part, ensuring that even if the maximum number of simultaneous notes is exceeded, the sound 
of important parts will not be cut off. 

Voice reserve is set for each part. It is not possible to make settings that would total over 30 voices for 
all parts. 



Ed i i- : 'Pat.crv-Part 1 •V . Rsv 
U o i c © Res© r* ••.•' © — £i E 3 S 13 



The Number of voices reserved 



The number of unreserved voices 



The U-220 can produce up to 30 voices (notes) at once. Each part will sound freely until the total of 
sounding notes reaches 30 voices. When the number of requested voices exceeds 30, voices will be 
taken (turned off) from parts which are sounding more notes than their voice reserve setting allows, 
and these voices will be used to play the new notes. Voices will be taken in order or low priority from 
parts which arc sounding more than their quota of reserved notes. 

* If voices are taken from a part which Is playing a sound with a long release, the sound may 
break off unnaturally. 



58 



ZEdit Mode (Edit) 



(Order of priority between parts) 



Rhythm 1 



High 



Part 
2 3 

Priority 



Low 



If no parts arc sounding notes in excess of their number of reserved notes, then the pan to which the 
request came will be the lowest priority part, and the oldest sounding note in that part will be turned 
off to make- room-far the newly played irate: Iirthis case-voicts-wil! not' be taken from other pans. 

* The number specified by the Voice Reserve setting is the number of voices, and is not 
related to the MIDI Note Number which Is received. 

* Tones which uses two voices (DETUNE, DUAL, V-MIX) will use voices and give up voices 
by pairs of two voices. When using a two-voice tone, be sure to set its voice reserve 

setting to an even number. {Refer to page 65, and the tone chart on page 126.) 

* If more than 30 notes are requested, the timing of the notes may become inaccurate. 



MIDI 



Rx Ch (Rx Channel) 1—16, Off 

This sets the reception channel of each part 3 — 6 in the patch. 

When playing the patch from a keyboard, set the transmission channel of the keyboard to match the 

reception channel of the parts you want to play. You can play parts in unison by setting two or more 

parts to the same reception channel as the transmission channel of the keyboard. 

When playing from a sequencer, set the reception channel of each part to match the transmission 

channel of each track of data transmitted by the sequencer. 



Ed i t..-PatGh..--Part 1 «"M I D I 

Rx Ch=0i ► 



K.Range (Key Range) c-1— G9 

This determines the range of notes (key numbers) which will be received by each part. Specify the key 
range by the note names of the lowest and highest notes to be received. You can play different parts 
from different areas of the keyboard by setting two or more parts to the same reception channel and 
specifying a different key range for each part. 



Ed i t/PatcrVPart 1 /M I D I 
•i Key Rang© C-1 ~ 69 



Example : Split bass and brass sounds around the C4 Key 





Part 1 


Part2 


Rx Ch 


1 


1 


Velocity Range 


C-1 - B3 


C4 - G9 


Timbre 


Bass Sound 


Brass Sound 



* Transmit channel of the keyboard : 1 



59 



2.Edit Mode (Edit) 



Velo Thresh (Velocity Threshold) 1— 127/Above, Beiow 

This determines the range of velocities for which each part will receive note data. You can piay 
different sounds for notes of different playing strengths by setting two or more parts to the same 
reception channel and specifying a different velocity threshold for each part. 



Ed i t ..■'■paicrv'Par-t i .-'M I D I 
4 U , Thresh= 1 88 Lv 1 -Above 



Example : Softly played notes sound a fingered bass, strongry played notes 
sound a slap bass. 





Part 1 


Part 2 


Rx Ch 


1 


1 


Velocity Threshold 


99 Below (1 - 99} 


100 Above (100 - 127) 


Timbre 


Fingered Bass Sound 


Slap Bass Sound 



* Transmit channel of the keyboard : 1 



Rx Volume On, Off 



This switch determines whether or not each part will receive volume control data from an externa! 
MIDI device. For example you can set two parts to receive the same MIDI channel and use volume 
control data from an external device to control only one of the parts. 



Ed i t-'Pa tcrVPar 1 1 -"M I D I 
4 Rx Uoluroe=Qn 



* If the reception channel of each part is turned off, volume data will not be received even if 
you turn the volume reception switch on. 



Rx Pan On, Off 



This switch determines whether or not each part will receive pan data from an externa] MIDI device. 
For example you can set two parts to receive the same MIDI channel and use pan control data from an 
externa! device to control only one of the parts. 



Ed i t..-'Pa tcrv'Par 1 1 ^M I D I 
4 Rx Pan=Off 



If the reception channel of each part is turned off, pan data will not be received even If you 
turn the pan reception switch on. 



60 



2-Edit Mode (Edit) 



Rx Hoid On, Off 



Output 



This switch determines whether or not each part will receive hold data from an external MIDI device. 
For example you can set two parts to receive the same MfDI channel and use hold data from an 
external device to contra! only one of the parts. 



Ed i t--Pa tch-'Par 1 1 .-"M I D I 
4 Rx Hold=Off 



* If the reception channel of each part is turned off, hold data will not be received even If you 
turn the hold reception switch on. 



Asgn (Output Assign) Dry, Rev, Cho, Dirl, Dir2 

This selects the effect (chorus, reverb /delay) and output jack used by each part. Chorus can be used 
in two ways, Pre Rev or Post Rev, as determined by the output mode of the effect (see page 54). 



Ed i t-'Pa tci-v'Part i /Output 
fls9n=Dr*y Pan=7< 



Output Mode 


Effect 


Output Jacks 


Dry 


No effect is used 


MiX OUT 


Rev 


Only Reverb 


Cho 


Pre Rev : Chorus and Reverb 
Post Rev : Only Chorus 


Dir 1 


No effect is used 


DIRECT OUT 1 


Dir 2 


No effect is used 


DIRECT OUT 2 



* If a plug is not inserted Into the DIRECT OUT jack, the output of the DIRECT OUT jack will 
be sent from MIX OUT. 

* The rear panel has a FIXED /VARIABLE switch. If the MIX OUT jacks are being used, 
setting this switch to Fixed will set the output at maximum level regardless of the position 
of the front panel Volume knob, and setting this switch to Variable will allow you to regulate 
the volume using the VOLUME knob. 

* The FIXED /VARIABLE switch has no effect on the sound that is being output from 
DIRECT OUT. You will not be able to regulate the volume using the VOLUME knob. 




MIX OUT 



MIX OUT 



61 



2.Edit Mode (Edit) 



* The FIXED /VARIABLE switch has no effect on the headphone volume. When using 
headphones, you can always adjust the voiume using the VOLUME knob. 

* Be sure to turn the U-220' s power off before changing the position of the FIXED/ 
VARIABLE switch. 



The U-220 is able to independently output the sound of each part. (Multi out.} In this case, the MIX 
OUT, DIRECT OUT 1 p -DIRECT-"OUTA2ijack5naTerused:as-OUT-.l; -2- 3 l 4v>5,*and'6:-3 ? tre settingsfor 
the rear panel OUT 1 — 6 will be as follows. 



Output Jack 


Output Assign 


Pan 


OUT 1 (MIX L) 


Dry • 


7< 


OUT 2 (MIX R> 


Dry • 


>7 


OUT 3 (DIR 1 L) 


Dir 1 


7< 


OUT 4 (DIR 1 R) 


Dir 1 


>7 


OUT 5 (DIR 2 L) 


Dir 2 


7< 


OUT 6 (DIR 2 R) 


Dir 2 


>7 



-k If the OUT 1 and OUT 2 settings are set so that the output assign is Rev or Cho, the 
output of OUT 1 and OUT 2 wili no longer be independent. 

After selecting the OUT. from which to output the sound, make appropriate settings for output assign 
and pan. 



Pan 7 >—><—< 7, Rnd 



This determines the pan (stereo position) of parts 1—6. 



Ed i t --'Pat c-rv'Par 1 1 .-'Output 
Rs9n— Dry Pan=7< 



Left Center Right 

7> ■•*••• >< <7 



* When Rnd is selected the pan position will change randomly for each note. 

* When the output assign of a part is set to Rev or Cho, the effect sound will be output from 
MIX L, R. If you want to pan a sound to far left or right, either set the output assign to Dry 
or make setup settings so that the effect is off. 



Lvi (Part Level) 0—127 



This determines the volume level of parts 1 — 6. 



Ed i t.--'Pa tcrv'Far t i .-'Output 

i Leue 1=127 



62 



ZEdit Mode (Edit) 



Rhythm Part 



Rhythm = # (Rhythm Set select) #1—4 

Select one of the four rhythm sets for the rhythm part to use. 



Edi t.-'Patcrv'R. Part 

Rhy t-hp-i=R- 1 : Standard bet ► 



Voice Reserve 0—30 



The number of reserved voices can be set for the rhythm part in the same way as for the other parts 
(see page 58). 



Ed i t<*Pa t ch,"R . Part 



Rx Ch (Rx Channel) 1--16, Off 

This sets the reception channel of the rhythm part. 



Ed i t-'-patcrVR . Part 
< Rx Ch-18 



Level / Boost 0—1 27/On. Off 

This sets the volume of the rhythm part. When Boost=Qff the volume will be the specified value, but 
when Boost=On the volume will be greater than the specified value. 



Ed i t .-'Pa t ch.-"R . Part 

4 L e v e 1 = i 28 B o os t = n 



Rx Volume On, Off 



This determines whether or not the rhythm part will receive volume data from an external MIDI 
device. 



Ed i t^Pa tcrv'R . Part 
< Rx Uolurce=0n 



* -If the reception channel of the rhythm part Is set off, volume data will not be received even 
if the volume reception switch Is on. 



63 



ZEdit Mode (Edit) 



Rx Hold On, Off 



This determines whether or not the rhythm part will receive hold data from an external MIDI device. 



Ed i t.--patch-'*R- Part. 
< Rx Hold=Off 



*[ If the reception-channel oi the. rhythm-:pariis =sek.-aff,^hold data.wilL-notibs. ceceiyed-.even if 
the hold reception switch is on. 



C. Editing a Timbre (Timbre) 



This is where you edit timbre settings. 









T-*** 




Name 


Tone 






Level 




Pitch 


Vibrato 









Edited settings are temporary. If you want to keep your edited settings you must write them into 
memory (page 84). 

[Example operation] 



)UseS}CURSOR Eto sele ct Timbre' 
(blinking) and press [ ENJTERl 



© Press [EDIT 



i) Use R1 CURSOR fFl to sele ct "Level" 
(blinking) and press I ENTER | 



Ed i t-'T i fibre t i : .-'Leue 1 
■■HEriM jR= ± £ \D=±£\ 5= ± @ X R= ±8 x 



Other parameters exist at same level 
Use Q] CURSOR __ to select 



\TT/ 

Use Hj CURSOR E to select the 
parameter you wish to modify 



• Use [__ VALUE [__ to modify 
the value 



Use|_QPART/INST[__to select the 
timbre you wish to edit 



* The value of the currently selected parameter will blink." 



* Return to the play display by pressing [EXIT] several 
times. _____ 
Cor hold I JUMP I and press 0_ VALUE) 



64 



2.Edit Mode (Edit) 



■ Naming (Name) 

Timbre Name 



Each timbre can be given a 12-character name. Use [ ^ j CURSOR [_frj to move the cursor and 
use I V | VALUE j A 1 to change the character located at the cureor. 



Edit.--TiFfbrj&Ci.X<Naae... . 
T i Fibre Name=B « P i a no "2 



Tone 



* The following characters can be used : space A— Z a— z 0-9 -/+*.,:; = !"#$ 
%&*()<>{}[] _?J> 



Tone (Tone Select) 



This is where you select the tone on which the timbre is based. You can select a tone from the 128 
tones in internal (see page 126) or from tones in a separately sold PCM card. 



Ed i t-"T i fibre 111 .•■•Tone 
Tone = I - 8 92 R . P I ft M 2 

1— l 



A : (I) when an Internal tone Is selected, (1—31) when a PCM card (separately sold) 

tone is selected 
B : The number of the selected tone (1—128) 



Tones are classified into the following types. The list of tones (page 126) indicates the type of each 
tone. 



Tone Type 



Single 



Velocity Switch 



Dual 



Detune 



Velocity mix 



Number of Voices 



A Tone consisting of a single sound 



A Tone which switches between two sounds according 
to on the key velocity 



A Tone consisting of two different sounds 



A Tone consisting of two sounds of different pitch 



A Tone which mixes two sounds according to the key 
velocity 



65 



ZEdit Mode (Edit) 



■ Using a separately sold sound library card(SN-U110 series) 

Each card is numbered by type; 01, 02 Check the number of the card, and insert it firmly into the front panel PCM 

CARD slot. You may insert a card into either the right or left slot. Up to two cards can.be used at the same time. 



tr^bi^'ii 



' ii liia \i C 



:H 



□ 



O 




Set the tone select setting to the number of the inserted card and the number of the tone you want to use. The number of 
tones in a card will vary according to the card. When you insert or remove a PCM card the following display will briefly 
appear, and operation will halt for a short time. 



Checking PCM Card... 



While playing, the PCM card which contains the tones being used must remain inserted. If a card tone is selected but the 
correct card is not inserted, the following display will appear and there will be no sound. 



Ed i t-.--"T i rob re CI 1 ./.Tone 
Tone = ©1-003 No Card! 



■ Level 

Level (Timbre Level) 0—127 

This determines the voiume of the timbre. 



Ed i t-/T i r«-«bre CI] /Leys 1 
Leve 1=188 Uelo Sens=+7 



Velo Sens (Velocity Sensitivity) -7— +7 

This determines how the volume will change in response to differences in the key velocity of an 
incoming note event. 



Ed i t..-T i rob re C 1 3 ^Leve 1 
Leve 1=100 Uelo Sens=+7 



66 



2-Edit Mode (Edit) 



Output Level 




The voiume cahnge resulting from velocity 
sensitivity for when Level = 1 00 



Velocity value of the received 
127 note on data 



+ 7 Strongly played notes will be louder 

Velocity will not affect volume 
— 7 Strongry played notes will be softer 



Ch After Sens (Channel Aftertouch Sensitivity) -7— +7 

This determines how channel aftertouch (pressing down on the keyboard after playing a note) will 
affect volume. 



Ed i t^'T i nbr© 1 1 J .'Leve 1 . 

4 Ch ft-Pter 5ens=±8 ► 



+ 7 Stronger aftertouch will increase the volume 

Aftertouch will not affect volume 
— 7 Stronger aftertouch will decrease the volume 



Env (Envelope) 



The various parameters determine how the volume will change overtime. 



Ed i +_..•••• T i Fibre CI] xLeve 1 
"iEnv ft=±e D=±@ S=±S R-±8 



Volume 




A: Attack Rate (-7— +7) the rate at which the sound begins 

D: Decay Rate (-7— +7) the rate at which the sustain lave! is reached 

S: Sustain Level (-7—+ 7) the volume level at which the sounds is sustained. 

R: Release Rate (-7—4-7) the rate at which the volume disappers 



Attack Rate. Decay Rate, Release Rate 
A + 7 Changes more rapidly 

\ ' - 7 Changes more slowly 



Sustain Level 

A + 7 Increased volume 

\ f — 7 Decreased volume 



67 



ZEdit Mode (Edit) 



These envelope settings are relative to the envelope settings of the tone itself. By 
modifying the envelope parameters you can make the tone change relative to the envelope 
settings of the tone. Depending on the envelope of the selected tone, modifying these 
setting may have no effect. 



Pitch 



These settings determine the basic pitch of the timbre, and how the pitch is 
controlled. 

* For some timbres, the pitch cannot be raised more than 1 .5 octaves. 



Pitch (Pitch Shift) 



This shifts the basic pitch of the tone in relation to the master tune setting. 

Coarse (pitch shift coarse) - 24 — + 24 : half-steps ± 2 octaves 
Fine (pitch shift fine) - 50—+ 50 : units of 1 cent ± 50 cents 



Ed it--'Ti Fibre L 1 ] /Pitch 

Coarse=± © F i ne=±8 



Bender Range 



1 octave = 1200 cents = 12 half-steps 
100 cents = 1 half-step 



This determines the range of the change in pitch when the bender lever is used to bend up or down. 

Bend down (- 36, - 24, - 12—0) : -3,-2 octaves, half-steps( - 1—0 octave) 

Bend up (0-— 12) : half-steps (0 — 1 octave) 



Ed i t-'T i Fibre 1 1 1 .--'P i tch 
4 Bender Ran9e= ; ?~2 42 



Ch After Sens (Channel Aftertouch Sensitivity) -36, -24, - 12— + 12 

This determines how channel aftertouch will affect the pitch. 



3, - 2 octaves, half-steps ( - 1— -+1 octave) 



Ed i t--T i Fibre C i 1 /p i tch 
4 Ch After Sens=±@ 



+ 12 Stronger aftertouch will raise the pitch 
± Aftertouch will not affect the pitch 

-12 

-24 

-36 Stronger aftertouch will lower the pitch 



68 



ZEdit Mode (Edit) 



Poly After Sens (Polyphonic Aftertouch Sensitivity) -36, - 24, - 12— + 12 

This determines how polyphonic aftertouch will affect the pitch. 



3,-2 octaves, half-steps( - 1— +1 octave) 



Ed i t--T i Fibre C 1 1 ,-'P i tch 

4 Poly After Sens-±8 



Auto Bend 



Auto bend is an effect which creates an automatic pitch-bend each time a sound is played. 

Depth (- 36. - 24, - 1 2—+ 12) : Amount of pitch change 
-3,-2, octaves, half-steps ( - 1~ +1 octave) 



Rate (0—15) : Rate of pitch change 



Ed i t..-T i nbre C 1 1 .-"P i tch 
4 Outo Bend Depth =±0 



E d i t.-T i fibre 1 i 1 ,-'P i tch 
< fiuto Bend Rate=15 



15 Rapid change in pitch 
Slow change in pitch 



Higher 
Pitch 

Depth 



Lower N ' 




Detune Depth 0—15 



This determines how greatly derune-type tones are detuned. This parameter is meaningful only when 
a detune-type tone is selected. 



Ed i t.--T i mbre't 1 1 sp i tch 
< Detune Depth=5 



69 



lEdit Mode (Edit) 



Vibrato 



Rate 0— €3 



These settings determine how vibrato (cyclic change in pitch) is applied and 
controlled. 



This determines the speed of the vibrato. 



Ed i t-'T i fibre 1 1 1 •••%' i brato 
R a t e— 5 a W a '.,' e f ' o r f i= T r i 



63 Fast vibrato 
Modulation becomes slower 



Waveform Tri, Sine, Square, SawUp, SawDwn, Trill 1 , Tril!2, Randm! — 4 

This selects the waveform of the LFO that creates vibrato. 



Ed i t--"T i nbre C 1 3 A- 1 i brato 
Ra t e - 5 S W a ■...' e f" or m =Tr i 



Tri 

AA 



Depth 0—15 



Sine 



Square Saw Up Saw Dwn "Trill 1 Trill 2 Randml - 4 



v/W rr_n AA J\N -^ -ljix tJH 



Random 
Waveform 



This selects the waveform of the LFO that creates vibrato. 



Ed i t-**'T i fibre til A 1 i brato 
^Depth=S Delay Tifie=0 ► 



Delay Time 0—15 



This determines the time delay from when a note is played to when the vibrato begins. 



Ed i t,-T i fibre C 1 3 AJ i brato 
4 Depth—S Del ay T i fie=@ ► 



Rise Time 0—15 



This determines the time from when the vibrato begins to when the vibrato depth increases to the 
specified value. 



Ed i t^T i fibre t 1 3 .-'U i brato 
4 Rise Tifie=0 



70 



2-Edit Mode (Edit) 



Higher 



Pitch 



Lower 



Delay Time 



Rise Time 



Key On 




Depth 



Modulation Depth 0—15 



This determines how modulation data will affect the vibrato depth. 



Ed i t-"T i nbre L 1 2 .-V i br ato 
< Modulation DeF-th=i2 k 



Ch After Sens (Channel Aftertouch Sensitivity) 0—15 

This determines how channel aftertouch will affect the amount of vibrato. 



Ed i t,-T i Fibre L 1 1 sV i brato 
■i Ch After Sens=8 



Poly After Sens (Polyphonic Aftertouch Sensitivity) 0—15 

This determines how polyphonic aftertouch wili affect the amount of vibrato. 



Ed i t--T i fibre C i 1 sV i brato 
■i Poly After Sens=8 



d. Editing a rhythm set (Rhythm Setup) 











R~* 


Name 






Bend 








Inst 



















Assigned to each note of the keyboard 



Four different Rhythm Sets can be created. A rhythm set plays a different rhythm 
sound for each note of the keyboard. 

By changing the setting of a rhythm part, you can assign a different sound to each 
note, and adjust the balance using pan and level. 



71 



2. Edit Mode (Edit) 



[Example operation] 

©UsaRlCURSOft fFlto sele ct "Rhythm" 
(blinking) and press I ENTE"R] 



© Press lEDiTi 



) Use Rl CURSOR fFl to sele ct "Inst 
(blinking) and press j ENTER j 



Ed i t.--Rhy tr w I ns i.--To ne 



© Use R1 CURSOR E to s elect 
"Tone" (blinking) and press I ENTER j 



■ Use P?] VALUER] to modify 
the value 



UseS)CURSOR[Hto select the 
parameter you wish to modify 



Use H] PART/INSTEP to select the 
note name of the recived note data 



* The value of the currently selected parameter will blink. 

* Return to the play display by pressing fEXlT) several 
times. 

for hold I JUMP I and press l~Vl VALUE.) 



■ Naming (Name) 

Rhythm Name (Rhythm Set Name) 

Each rhythm set can be given a I2-character name. Use j "-4 I CURSOR j ► | to move the cursor 
and use | V | VALUE j A \ to change the character located at the cursor. 

* The following characters can be used ; space A—Z a— z 0—9 -/ + *., :; = !" #$ 
%&'()<>{}[] _?J> 



Ed i t/Rhy thro/Name 

Rhythm Name— Standard Set- 



■ Bender (Bend) 

Bender Range 



This determines the range of the pitch change when the bender lever is used to bend up or down. 

Bend down (- 36, - 24, - 12— ± 0) : -3,-2,-1—0 octave 
Bend up (0—12) : half-steps (0—1 octave) 



Ed i t..-"'Rhy t-hrn.-* Bender 

Bender RarrSe^T-Z' 



72 



2.Edit Mode (Edit) 



Inst 



These settings determine the instruments assigned to the rhythm set, and how they 
will sound and be output. 



Ed i t.-'Rhy thrv' I nst/Le ve 1 
Bi : Level =31 U . Sens=+7 *• 

When ! "is Btsplayed you can sef the mapTronf the" tJ#20's' controls. ' 



I When making instrument settings, you can select the key to assign (the key to 
edit) from the U-220 or from a MIDI keyboard. Use the following procedure. 



U-220 



MIDI IN 
M!DI OUT 



Keyboard 



CZ]« 



iiiwwm 



The key you wish to assign 
(edit) 



[Procedure} 



© While holding j JUMP [ press ! MARK~1 . 



Ed i t/Rhy t-hrV I nst/Leve 1 
El >LeMel=3i^J : LSeri£=+7 



A The key you wish to assign (edit) 



! will change to ^> . 

When note data is transmitted from the connected keyboard, the display or A will change to 
indicate that note, and at the same time the settings B for that note will also change. 

Use ! -4 i CURSOR I ► I to move the cursor to B, and use j V | VALUE |~A~] to set the 
parameter values. 

By repeating steps ® and ® with the cursor in position B, you can select the keys you want to assign 
(edit) from the keyboard. 

* Make sure that the transmission channel of the keyboard matches the reception channel of 
the U-220 (page 59). The keyboard must transmit note data on the same channel as 
received by the part you are editing. 



Once again, while hotding fjUMP [ press [ MARiQ and the > will return to 5. 
When : is displayed, specify key numbers from the U-220 front pane!. 



73 



ZEdit Mode (Edit) 



i Tone 



These settings select the tones assigned to the rhythm set. 



Tone (Tone Number, Tone Select) 

This selects the tone that is played by each key. For a rhythm set, a single tone consists of a tone 
number, tone name, and source number. 
■■-:■ You can Also- seJect a tone-other than-the-.d-rumtone'C! •^428 Drams). 

A : When using an Internal tone, select I, 

When using a PCM card tone, select the card number 1—31. 

B : Select the tone number (1—128} 



Ed i t/Rhy thn/ 1 ns-tsTorn 
Bl ' 1-128 DRUMS 



B 



Source (Source Number) 1—127 

Each rhythm tone (tone no. 1-128 Drums) has tone numbers assigned to it (page 129). 

This parameter determines the key number of the tone which corresponds to the note name of the 

received note event. 



E d i t- .-•' R hi y t- h n •••'* I n s t»-" T o n e 

B 1 * < So ur ce=3S M u te= f f 



t 



Note nam* of the 
moved not* data 



Key number assigned to the rhythm 
tone (paoe 123) 



Mute B1— D7 



This parameter allows the speciried tone be muted by a received note event of the specified key 
number. 



Ed i t,.'"Rhy thr-v' I nst-^'Tone 
'Mi «Source=42 Mute= 



-(Example) ..-The sound -that- began -playing in response to 
a A # 2 note event will be muted by a F # 2 
note event 



74 



2.Edi1 Mode (Edit) 



• Level 
Level 0—31 



By adjusting the volume level of each key, you can regulate the volume balance with the sounds of 
other keys. 



£ d i t-<.R h y t-h ra .-:I cis.t /L eye 1 
B I : Leye 1=31 U . bens=+7 1 



V.Sens (Velocity Sensitivity) -7—+ 7 

This determines how the volume will change in-response to the velocity of a received note event. 



Ed i t/Rhy t-hr-V I nst/"Leve 1 
Bl : Level =31 U. Sens =+7 



+ 7 Strongly played notes will be louder 

Velocity will not affect the volume 
-7 Strongly played notes will be softer 



Output Level 



127 



100 



The volume cahnge resulting from velocity 
sensitivity for when Level = 1 00 




Velocity value of the received 
127 note on data 



75 



ZEdit Mode (Edit) 



Env Mode (Envelope Mode) Sustain, NoSustain 



Sustain : Diminish the sound after receiving No Sustain : Ignore note off messages 

a note of message 



Voiume 




Key on Key off 



Time 



Volume 




A 

Key on 



Time 



Ed i t»-"Rhy thrV I nsVLe ve 1 
Bi HEny Mode^NoSustain* 



Env (Envelope) 



When playing the rhythm part from a rhythm machine (or a sequencer that has a rhythm track) that 
transmits note events with a short gate time (i.e., if the note off messages come immediately after the 
note on messages), you should set this parameter to NoSustain. 



This adjusts the volume envelope (the volume change over time). 



A : Attack rate { - 7 — +7) 
D : Decay rate ( - 7 — +7) 
R : Release rate ( - 7 — +7) 

J +7 Faster change 
— 7 Slower change 



Ed i i.-'Rhy thr-V I nst»--'l_eve 1 
Bi .NEn'v' ft=±8 D=±8 R=±0 



Pitch 



These settings are relative to the envelope settings of the tone. Depending on the 
envelope of the selected tone, modifying these setting may have no effect. 



These settings determine the pitch of the instrument assigned to each key, and how the pitch will 
change. 

* For some Instruments, the pitch cannot be raised more than 1.5 octaves. 



76 



Pitch Shift 



2-Edh Mode (Edit) 



This adjusts the pitch of the tone. 

Coarse (pitch shift coarse) -36, - 24, - 12— + 12 
- 3, - 2, - 1— +1 octaves(half-step units) 



Fine .(pitch . shift, jfine) .--SO-^*^0.:-iinlts..oU.-cant 



Ed i t ."'Rhy thr-V I nst/P i tch 
B 1 : C oarse=± @ F i n e=± 8 



Ch After Sens (Channel Aftertouch Sensitivity) - 36, - 24, - 12— + 12 

This determines how the pitch will be affected by channel aftertouch messages. 



Ed i t.--Rhy thfi.-' I nst--'P i tch 
Bl MCh After Sens=±8 i^ 



+ 12 Stronger aftertouch wiii raise the pitch 

± Aftertouch will not affect the pitch 

-12 
-24 

-36 Stronger aftertouch wiil lower the pitch 

Poly After Sens (Polyphonic Aftertouch Sensitivity) -36. -24, - 12— + 12 

This determines how polyphonic aftertouch will affect pitch. 



Ed i t-'Rhy t r W I nst.-'P i tch 
Bl s-^Poly fift Sens=±8 I* 



Pitch Randomize 0-15 



This determines the amount of random pitch change that will occur each time a note is played. 



Ed i t-''Rhy t hr-v" I nst-'P i tch 
B 1 : < P i tch R a n d o m i ze= 8 &• 



15 Much random pitch change 
No random pitch change 



77 



2, Edit Mode (Edit) 



Auto Bend Dpth 
Auto Bend Rate 



The auto bend effect creates an automatic pitch bend for each note. 



Ed i t--'Rhy t hrv" I ns t .'*P i tch 
Bi M flu to Bend Dpth=±@ ► 



Ed i t^Rhy t hw I nst-'P i tch 
Bi MRu to Bend Rate= ► 



Higher A 



Pitch 



Depth 




■ Lower V 

Depth (- 36. - 24, - 1 2—+ 12) : 

the amount of pitch change ( - 3, - 2, - 1 — +1 octaves) 



Rate (0—1 5) : the speed of pitch change 

15 Rapid phch change 
Slow pitch change 



Detune Depth 0—15 



This determines how greatly the pitch of the two sounds in a detune-typc tone wili be spread apart. 
This parameter is effective only when a detune-type tone is selected, (see page 65, 126.) 



Ed i t.--Rhy thrv" I ns t--'P i tch 
Bi 14 Detune Depth =8 



78 



2.Edit Mode (Edit) 



1 Output 



Output (Output Assign) Dry. Rev, Cho, Dirl 

This selects the effect (chorus, reverb /delay) for the tone. Chorus will be applied according to the 

chorus output mode (patch) settings (page 54). 



Ed i t SR h y t- h m .<I ns t SB u t But 
Bl : fts9ri=Dr-y Pan— 7< k 



Output Mode 



Dry 



Rbv 



Cho 



Dir 1 



Effect 



No effect is used 



Only Reverb 



Pre Rev ; Chorus and Reverb 
Post Rev : Only Chorus 



No effect is used 



Output Jacks 



MIX OUT 



DIRECT OUT 1 



* When a plug is not inserted into the DIRECT OUT jacks, the sound will be output from MIX 
OUT even if you have selected Dir 1 , 

* DIRECT OUT 2 cannot be used. 



Pan 7 >— X— <7, Rnd 



This determines the pan (stereo position). 



Ed i t -'Rhy t hr-v" I nst .--'Output 
Bi s ftsgn=Dry Pan=7< 



Left 



O 



7> 



Center 



>< 



Right 



o 



<7 



'* When Rnd Is selected, pan-wiil change randomly each time a note Is played. 



79 



3. Data Mode (Data) 



In data mode you can store edited settings and organize data. This mode includes functions that allow you to 
"write", "transmit via MIDI", or "initialize" edited patches or timbres, and functions such as ROM play and 
"MIDI monitor". 



a. Write procedure (Write) 



This operation stores edited settings by parameter group into the memory area. In 
addition to the normal write operation, "exchange" and "copy" operations are 
provided to help you organize you data. 





Memory Erea 












P-01 

m 


ffl 


IT"- 










*«. 






^.^J 






emporary Area 






mm. 


T 










'■ ■» 








mM** 


* ^. 


Temp : P-01 



































* It is not necessary to write Setup settings. 



The Renumber function 



A patch selects sounds by specifying a timbre number for each part. When you edit a timbre 
used by a patch and then write that timbre into another timbre memory, the patch settings must 
be modified so that the memory of the newly edited timbre is specified. 

This is what the renumber function automatically does. When you write an edited timbre into 
another timbre memory, the renumber function will modify (renumber) the timbre selections in 
each patch that uses the newly edited timbre. If you use the renumber function, you won't have 
to modify the timbre selections for patches in the memory area. 
The renumber function can also be used when copying. 

(Example) If after editing timbre T-001 you write or copy it into memory area 
T-002, all patches P-01— P-64 which specify timbre number T-001 will 
be modified to specify timbre number T-002. 



80 



3. Data Mode (Data) 



[Example operation} 



® Use H3 CURSOR [ El to sele ct "Write" 

(blinking) and press ! EN TE"R] 



© Press I DATA . 



) Use H] CURSOR E to sele ct "Patch" 
(blinking) and press JENTER] 



Data/Wr i te. '"Patch 

Wr i te Temp : P- 1 l v -»ll v 



• Use [2] VALUER to modify 
the value 



Use Rl CURSOR fFl to select the 
parameter you wish to modify 



* The vaiue of the currently selected parameter will blink. 



After specifying the value, press | ENTER | . 



Da ta.--1.0r i te.--"Patch 

Sure? EUfiLUE±3 v C EXIT 3 



You will be asked if you are sure. 



* Check the settings once again. If you decide to change the settings then press | EXiT 
and you will return to the write setting display. 



If you are sure that you want to write the data, press VALUE | A_j . 



Data--' Wr i te.-'Pa*toh 

Fu n c t i on C o mp 1 e t e d - 



and after few seconds 



Da ta.--Ur i te.-'Patch 

Write Temp: P- 11 *11 



Toreturn to the play display press | EXiT | several times (or hold pUMP~"] and press 
TV1 VALUE). 



This completes the procedure. 



81 



3.Data Mode (Data) 



Patch Write, Exchange, Copy, Part Copy 



Edited settings are temporary. If you select another patch, new data will be read 
into the temporary area and the settings of the previous patch will be lost. If you 
want to keep your edited settings you must use the patch write operation. 







• Memory 


Area 

Patch 


:P-01-P-64 






I MB | 


..K68S 


P-30 j 












I 






| 




























j p-10 j 


* 
* 


| P-20 












Read a patch 




* 


" 
























y 
















temporar 




* 


* * 

* * 
* 






Temp: P-10 


* 
* 
* 
m 

t 
* 
* 

* 

* 


* 
* 
* 








j Part 1 | 


* 




msm { 


* 




j Pan 2 T | 

• 
• 















Write 



* Patch settings in the temporary wiii be preserved even when the power is turned off. 



This operation writes edited patch settings into a patch in the memory area. 



D at. a ••■' Ul r- i t e --'P a t ch 

Write Tenp:P-ii -^i i 

i V 



X 



Tha number of the patch currently The patch number of the 

In the temporary eree destination {memory are*) 



82 



3.Data Mode (Data) 



Exchange 



This operation exchanges the edited patch settings with a patch in the memory area. This allows you to 
compare the edited patch settings with the patch settings in the memory area. To compare the edited 
and unedited patches, specify the same patch number when exchanging. 

* After exchanging, the patch settings In the temporary area will automatically become the 
-patch .in. the memory, area. 



Data.-"Wr i t-e. --Patch 
Exchan'S e Te pip s P- i i ■*-* i 1 

A" —— X 



X 



Patch number now In tha 
temporary area 



Patch numbar of the exchange destination 
(memory area) 



Copy 



This function copies the settings of a specified patch in the memory area to another patch number. Or 
you can specify a range of two or more patch numbers to be copied to a specified patch number and 
following patches. 



Data.--l.Jr- i te---Patc-h 
Copy P-li-25 +11 



t -1 \ 

\lr\a End • 



Beginning End 
Range of oaten numbers 
you wish to copy 



Beginning of the copy 
destination patch numbers 



Part Copy 



This function copies the settings of a part in the currently edited patch to another part in the patch. 
This is convenient when setting two parts in a patch to the same settings. 



Data.-'l<ir i te^'Patch 

Part- Copy Partl^-Part-2 



T— T 



The part now being edited The copy destination part 

* Copied part settings are temporary. If you want to keep the copied part settings you must 
use the patch write operation. 



83 



3.Data Mode (Data) 



Timbre Write, Write + Ren, Exchange, Copy, Copy + Ren 



Edited timbre settings are temporary. If you select another timbre, new data will be 
read into the temporary area and the settings of the previous timbre will be lost. If 
you want to keep your edited settings you must use the timbre write operation. 



Memory Area 






j Temp:P~10 | 






Part 1 
Timbre: T-010 







Write 



This operation stores edited timbre settings into a memory area timbre. 



Data/Wr i t e*"T i Fibre C 1 1 

U)r i te Trap : T-8 1 1 *@ 1 1 

i = x 



Timbre number now In the 
temporary ereo 



\ 



Timbre number of the writing destination 
{memory aree) 



84 



3.Data Mode (Data) 



Write + Ren (Write + Renumber) 

This operation stores edited timbre settings into the memory area and at the same time re-writes the 
timbre numbers of all other patches which specify that timbre. 



Data.''Ulr i t,e--"T i rob re til 

Ur i te+Ren Trip 5 T-@ 1 1 *8 1 i 

: - ■ - V . 



Timbre number now in the 
temporary area 



\ 



Timbre number of the writing destination 
(memory area) 



Exchange 



This operation exchanges the edited timbre settings with timbre settings from the memory area. This 
allows you to compare edited settings with settings in memory. To compare the edited and unedited 
settings, specify the same timbre number for exchange. 

* When the exchange operation Is executed, timbre settings in the temporary area will 
automatically become a timbre in the memory area. 



Da"ta.-"ljJr- i t-e/T i Fibre C i 3 
Exchange Tpip s T-8 1 1 **@ 1 1 

— i ===== V 



Timbre number now in the 
temporary area 



X 



Timbre number of the exchange destination 
(memory area) 



Copy 



This operation copies a specified timbre from the memory area into another timbre in the memory 
area. It is also possible to specify two or more timbres to be copied into the specified destination and 
the following memories. 



Data-" Wr i t.e.-T i fibre 

Copy T-8 1 1 -025 •*© 1 1 



1 — I — l- 

linnina End i 



Beginning End 

Range of timbre number* 
you want to copy 



Beginning of copy 
destination tlmbr* numbers 



Copy + Ren (Copy + Renumber) 

This function copies a specified timbre from the memory area into another timbre in the memory area, 
and at the same time automatically re-writes the timbre numbers for all patches which use that timbre. 



Da ta.--"Wr i t.e/"T i Fibre 

Uopy+Ren T-8 1 1-825 *8H 



Beginning End 

Range of timbre numbers 
you want to copy 



Baglnning of copy 
destination timbre numbers 



85 



3. Data Mode (Data) 



Rhythm Set (Rhythm Setup) Write, Write + Ren, Exchange, Copy, Copy + Ren 

Edited rhythm set settings are temporary. If you select another rhythm set, new 
data will be read into the temporary area and the settings of the previous rhythm set 
will be lost. If you want to keep your edited settings you must use the rhythm set 
write operation. 



Memory Area 



P-10 



Part 1 



Rhythm Set : R-1 - R4 



1 R-3 1 


,— -BBS?... 


I w i 








}:::: 




mmmrn 








Write 



This operation stores edited rhythm set settings into a memory area rhythm set number. 



Data^'Wr i t.e.--"Rhy thr"'i 
Write TewpsR-i *l 



\ 



Rhythm set now in the Hhythm set a1 the writing destination 

temporary area (memory areo) 



86 



3.Data Mode (Data) 



Write + Ren (Write + Renumber) 

This operation stores edited rhythm set settings into the memory area and at the same time re-writes 
the rhythm set number of all other patches which specify that rhythm set. 



Data.-"Wr i te.--Rhy thro 
Ul r i t e + Ren T e ro p : R - i 



*1 



Rhythm ut now in the 
temporary area 



■X 



Rhythm set of the writing destination 
(memory area) 



Exchange 



This operation exchanges the edited rhythm set settings with rhythm set settings from the memory 
area. This allows you to compare edited settings with settings in memory. To compare the edited and 
unedited settings, specify the same rhythm set number for exchange. 



Data.--l.iJr- i te-'Rhy thro 
E x oh Bn 9e T en p s R — 1 *-■ 



-A, 



Rhythm set now in the 
temporary area 



^T 



Rhythm set of the exchange destination 
(memory araa) 



Copy 



This operation copies a specified rhythm set from the memory area into another rhythm set in the 
memory area. It is also possible to specify two or more rhythm sets to be copied into the specified 
destination and the following memories. 



D a t a .-' W r i t e .-■' Rh y t h ro 
Copy R-i *1 

i v. 



Rhythm sat numtiar you want 
to copy 



\ 



Copy destination rhythm sat number 



Copy + Ren (Copy + Renumber) 

This function copies a specified rhythm set from the memory area into another rhythm set in the 
memory area, and at the same time automatically re-writes the rhythm set number for all patches 
which use that timbre. 



Data.-'Wr i te/Rhy thro 
■■ Cop y +Ren R- i * 1 ,. 

* X 



Rhythm set number you 
want to copy 



\ 



Copy destination rhythm set number 



87 



3. Data Mode (Data) 



c. Bulk Dump 



The dump function allows you to set another U-220 to the same settings, or to 
transmit data to a sequencer for storage. Data stored in a sequencer can be 
transmitted back to the U-220 to restore the previous setup. 
Data is transmitted as a system exclusive message. 



MIDI OUT 



Transmitting device 
U-220 



MIDI IN • 




Receiving device 
(MIDI .sequencer, another U-220 etc.) 



The dump function transmits data one way. In one-way transmission, the data is transmitted 
regardless or the condition of the receiving device. 

* Be sure to set the transmitting device and the receiving device to the same device ID 
number. If the two device IDs do not match, the data wiii not be received (see page 48). 
Set the exclusive reception switch of the receiving device on. (Rx SysEx = On : see page 
48.} 

* It is not possible to transmit the setting of the exctusive reception switch or the value of the 
device ID. 

[Example] 



) Use H] CURSOR E [to sele ct "Bulk* 
(blinking) and press j ENTER | 



© Press fDAtTj 



) Use Rl CURSOR [ F1 1 to sele ct "Temp" 
(blinking) and press I ENTER I 



Data.--*Bu 1 k .-"Temp 
Bulk Dump Ter-tp fill" 



"^s * 

Use [$7] VALUER] to modify the value 



*The value of the currently selected parameter will blink. 



After you have $tt the values, press [ ENTER 



88 



3.Data Mode (Data) 



D at- a--"Bu 1 k -■**T e pi p 

Tr ans n i it. i n 9 b y sEx » 



* Data Is being transmitted. 



l5ata.<Bulk.-Ter-iP : 

Fu net i on Co n p 1 e t. © d - 



and after few seconds 



Da t a s B u 1 k -•" Ten p 
Bulk Dump Tenp fill 



To return to the play display press [ EXIT j several times 
( or hold j JUMP | and press pV~1 VALUE ). 



This completes the procedure. 



Data Groups for Transmission 



Type of Data 


Data Group 


Transmitted Data 


fll 1 


fill 


ail data in Temp, Memory, Setup 




fil 1 


all Setup data 




F'arar'i 


Master Tune, Effect, LCD, MID! (except maps) 




Nap /ft 11 


all maps 


S e t u p 


Ma p^ Patch Map 


Patch maps : select from 1, 2, 3, 4, 1—4 




M a p s T i n b r e M a p 


Timbre maps : select from 1, 2, 3. 4, 1—4 




Map •Rhythm Map 


Rhythm maps : select from 1, 2, 3, 4, 1—4 




Map/R. Inst Map 


Rhythm Inst maps : seiect from 1, 2, 3, 4, 1—4 




Tenp fill ■ 


all data in the temporary area 




Patch 


the patch in the temporary area 




Timbrel 


timbre assigned to part 1 




Timbre2 


timbre assigned to part 2 


T e n p 


T i nbr©3 
Tinbr-©4 


timbre assigned to part 3 
timbre assigned to part 4 




TimbreS 


timbre, assigned to part 5 




TimbreS 


timbre assigned to part 6 




Timbre 1-6 


timbre assigned to part 1—6 




Rhythm Set 


rhythm set assigned to the rhythm part 




fill 


all data in the memory area 


M e n o r y 


Patch 
Ti fibre 


Patch (seiect from 1—64) 
Timbre (select from 1—128) 




Rhythm 


Rhythm Set (select from 1—4) 



89 



3.Data Mode (Data) 



U-220 



I — Setup Area" 



Master Tune 

Effect 

LCD Contrast 

MID! 



T~ Temporary Area" 



Map 






Patch 


Map 




Timbra 


Map 




Rhythm Mao 




Rhythm Inst 


Mao 



SettJpl 




Timbre 



Rhythm Set 



(mufti 




MIDI OUT 







Ail data (AH) 



All 



This operation transmits ail data from the setup area, memory area, and temporary area. 



Transmitted data : Temp, Memory, Setup 



Data^Bulk.--fill 
Bulk Dump fill 



90 



3.Data Mode (Data) 



Setup data (Setup) 



All 



This operation transmits all setup data- 



Transmitted data ; M.Tune, Effect, LCD, MIDI, Map 



Data^Bu 1 k --'Set up-- ft 1 1 
Bulk Dup'ip Setup fill 



Param (Setup /parameter) 



This operation transmits all parameter values in the setup data other than maps. 



Data-'Bulk-'S 
Bulk Dur-jp £ 



Jetup-'Parar-i 

Setup ParaFi 



Parameters other than maps cannot be transmitted individually. 



Map /AH Patch, Timbre, Rhythm, Rhythm Inst 

This operation transmits all map settings. 



Da ta-'Bu 1 k sSe t up.-'Map^R 1 1 
Bulk Dump Map fill 



Map /Patch Map1, 2, 3, 4, 1—4 

This operation transmits patch map settings. 



Data-'-'Bu 1 k --"Setup --"Ma p/Ptch 
Bulk Dufip Patch Map 1-4 



Map /Timbre Map!, 2, 3, 4, 1—4 

This operation transmits timbre map settings. 



Data/Bu 1 k /Setup^'Map/Tr-'ibr 
Bulk Dump Timbre Map 1-4 



Map /Rhythm Ma pi, 2, 3, 4, 1—4 

This operation transmits rhythm map settings. 



Da ta.-'Bu 1 k --"be tup.-"Map^Ry tm 
Bulk Dump Rhythm Map 1-4 



91 



3.Data Mode (Data) 



Map/ R.Inst (Rhythm Inst) Map1, 2, 3. 4, 1—4 

This operation transmits rhythm instrument map settings. 



Data-'Bu 1 k .•■beiup.-'riap.-'R I n: 
Bulk Dump R.Inst Map! -4 



Temporary (Temp) AH, Patch, Timbrel, 2, 3, 4. 5, 6, 1—6, Rhythm Set 

This operation transmits data from the temporary area (the data being edited). 



Dat.a.--"Bu 1 k ••••"Temp 

B u 1 k D u m p T e mp fill 



Memory (Memory) 



All Patch x 64, Timbre x 1 28, Rhythm Set x 4 

This function transmits all data from the memory area. 



Patch 1—64 



Timbre 1—128 



Rhythm 1—4 



Data.--'Bu 1 k /Menory/fl 1 1 
Bulk Du pi p M e m or y fill 



This function transmits patch settings from the memory area. Specify the patch 1- — 64 that will be 
transmitted. 



Data.--Bu 1 k .-'Me mo ry. ••'Patch 
Bulk Dump P-81-2© 



This function transmits timbre settings from the memory area. Specify the timbre 1—128 that will be 
transmitted. 



Data/Bu 1 k .•••t1emory/T i mbre 
Bulk Dump T-88 1-820 - 



This function transmits rhythm set settings from the memory area. Specify the rhythm set 1 — 4 that 
will be transmitted. 



Data^Bu 1 k •■ Memory. ■•••Rhythm 
Bulk Dump R-l-3 



)2 



3.Data Mode (Data) 



c. Initialize 



These functions initialize data. 

* Initializing setup or jump page data will restore it to the factory settings. 

* When temporary area data (the data being edited) is initialized, it will be set to the values 
fisted on page 1 30. 

* To set all data to the factory settings, consult your nearby .Roland service, center. 

[Example operation] 



) Use S3 CURSOR Q Ejto sele ct "Init" 
(blinking) and press I ENTER I 



©Press! DATA I 



) Use S) CURSOR Q t) to sele ct "Temp" 
(blinking) and presslENTER"! 



Data.-' I n i t/Tenp 

I n i i i a 1 i ze Ter*ip fill 

— — — , ^ 



^T 



Use [£] VALUE Q] to modify the value 
*The value of tha currently selected parameter will blink. 



After you have set the values, press | ENTER j . 



Data.-'' I n i t .-"Tenp 

Sure? CURLUEA3 .•-' C EX IT 2 



* The display wilt ask you for confirmation. 

* Check the settings once again. If you decide to modify the settings then press | EXIT | and 
you will return to the setting display. 



If you are sure you want to initialize the data press VALUE j A I . 



Data--' I n i t.-'Ter-ip 

Funct i on Corp 1 eted . 



and after a few seconds 



Data/ 1 n i t-^Ternp 
Initialize Temp fill 



93 



3-Data Mode (Data) 



To return to the play display press [ EXIT"] several times, 
(or hold j JUMP | and press [£] VALUE ). 



This completes the procedure. 



Data Groups for Initialization 



Type of Data 


Data Group 


initialized Data 


mi 


fil 1 


alt data in Temporary and Setup, and jump page data 


S e t u p 


fill 

Pa ran 

Map ."fill 

Map /Patch Map 

M a p / T i n b r e M a p 

M a p / R hy t hm M a p 

Map/R. Inst Map 


ail setup data 

Master Tune, Effect LCD, MID! (exsept maps) 

all .maps 

Patch maps : select for 1, 2, 3, 4, 1 -4 

Timbre maps : select for 1. 2. 3, 4, 1 —4 

Rhythm maps ; select for 1, 2. 3. 4. 1—4 

Rhythm Inst maps : select for 1 , 2, 3, 4, 1—4 


T e r-'i p 


Temp fill 
Patch 
Part 1 
Part 2 
Part 3 
Part 4 
Part 5 
Part 6 
Rhythm Part 
Ti Fibre i 
Timbre 2 
Timbre 3 
Timbre 4 
Timbre 5 
T i mbre 6 
Timbre 1-6 
Rhythm Set 


all data in the temporary area 

the patch in the temporary area 

settings for part 1 

settings for part 2 

settings for part 3 

settings for part 4 

settings for part 5 

settings for part 6 

settings for the rhythm part 

timbre assigned to part 1 

timbre assigned to part 2 

timbre assigned to part 3 

timbre assigned to part 4 

timbre assigned to part 5 

timbre assigned to part 6 

timbre assigned to part 1—6 

rhythm set assigned to the rhythm part 


-J u n p 

Page 


Jump Pa9e 


jump page displays you set 



94 



3-Data Mode (Data) 



All data (All) 



All 



This operation initializes all data in the temporary area, all data in the setup area, and the jump page 

data. 

initialized data : Temp, Setup, Jump Page 



Datamini infill 
Initialize fill 



Setup data (Setup) 



This operation initializes all data in the setup area. 



Initialized data MTune, Effect, LCD, MIDI, Map 



Data-'" I n i t-' Setup. -'ft 1 1 
I n i t i a 1 i ze Setup fill 



Pa ram (Parameter) 



This operation initializes all setup data parameter values except maps, 



Initialized data : M/Tune, Effect, LCD, MIDI 



Data-in it--' 
Initial ize 



SetuFv-Par-ar-i 
Setup Par-ap- 



* It is not possible to initialize individual parameters other than maps. 



Map /AH Patch, Timbre, Rhythm, Rhythm Inst 

This operation initializes all maps. 



Data--' I n i t/SetuFv-flap^fl 1 1 
Initialize *Map Pill 



Map /Patch Mapl. 2. 3, 4, 1—4 

This operation initializes patch maps. 



Data/ 1 n i t-'Se tup/Map^Ptch 
Initialize Patch Map 1-4 



95 



3. Data Mode (Data) 



Map /Timbre Mapl, 2, 3, 4, 1—4 

This operation initializes timbre maps. 



Data.-- I n i ■t--'SetuF.-'Map.-'Tnbr 

I n i t i a 1 i ze T i Fibre Map 1 -4 



Map /Rhythm Mapl, 2, 3,4. 1—4 

This operation initializes rhythm maps. 



Data.-" I n i t/Setup^MaF^Rytm 
Initialize Rhy th r«t M a p I - 4 



Map/RJnst (Rhythm Inst) Mapl, Z 3, 1—4 

This operation initializes rhythm instrument maps. 



Data-- 1 n i t-"Se tup^Map^R I ns 
Initialize R - 1 ns t Map 1 -4 



Temporary (Temp) 



Alt, Patch, Parti, 2, 3, 4, 5, 6, Rhythm Part, Timbrel, 2, 3, 4, 5, 6, 1—6, 
Rhythm Set 



This operation initializes data in the temporary area (the data being edited), 



Da t a s I n i t s Temp- 

Initialize Temp fill 



■ Jump page 

Jump Page 



This operation initializes the jump page settings. 



Data^ I n i t-^ Jump Pa9 e 
In'i t ial ize Ju'PtP""Pa9< 



96 



3. Data Mode (Data) 



d. Utility 



[Example operation] 

© Use Rl CURSOR {"Fl to sele ct "Util" 
(blinking) and press i ENTER] 



© Press I DATA : 



Use H] CURSOR E to se lect "ROM Play" 
3 s7ET 



(blinking) and pressTENTgfTl 



Data.--Ut i 1 .-•ROM P 1 ay i Stop 

Song #2 U MIGHT BE THE 1 

X 



\ 



® To start the song press ! ENTER ] 
■ '-. xtj-o Tstop-'lhe ''s ong -o res s- l-EXIT | ' 



® Use [RVALUE [A] to select a song 

*The value of the currently selected parameter wijl blink. 



* Return to the play display by pressing l"£"XiTi several 

times. 

(or hold IJUMP l and press OZ] VALUE.) 



ROM Play 



The U-220 has two demonstration songs that take advantage of its multi-timbral capabilities. For 
details refer to "Listening to ROM Play" (page 5). 



Data/Ut i 1 xROM P 1 ay : Stop 
Son-3 #1 HIGHLANDER 



MIDI Monitor 



RUN /STOP 



The MIDI Monitor function allows you to view the data that is being received by 

the U-220 from an external MIDI device. 

The MIDI Monitor puts the data received from MIDI IN into a monitoring buffer, 

and displays it in hexadecimal form. The buffer can hold 256 bytes. 

When new data is received, the old data will be overwritten starting with the oldest 

data. 



Bun/Stop 



Da ta/Ut i 1 •M I D I : Stop s Rtf 

256 s -4 „ — . — , — , — . — _ — * 



Display Pnintsr 




Mode 



Data 



B 



In the MID] Monitor display, you can set the following parameters "to determine' how MIDI data will 
be monitored. 



While this is set to RUN, incoming data will be received into the monitor buffer. Data will continue to 
be received even if you move to another display. 
When this is set to STOP, data reception will stop. 



»Use | A I CURSOR | ► I to select Run /Stop and usej V | VALUE fAl to witch the 
setting. 



97 



J.Data Mode (Data) 



Mode (Rxl, Rx2) 



This determines how data will be received into the monitor buffer. 

Rx1 : All incoming MIDI data will be monitored 

Rx2 : All Incoming MIDI data except for realtime messages will be monitored 

.i.When^ouxjbange.me^ode^etting^alWata^the-ijufler-rWillifl.-elearfid.- 

* Realtime messages are used mainly to synchronize sequencers and rhythm machines. 
Active sensing is Included in realtime messages. 

* Use | ■< [ CURSOR | ► ] to make Rxl or Rx2 blink, and use j~vl VALUE f~Al to switch 
the. monitoring mode. 



About the MIDI" monitor Display 



Display Pointer 



The display pointer indicates the position in the data buffer which the currently displayed data 
occupies. If the display pointer is 256, the most recently received data is being displayed. 



If new data is received during RUN, the display pointer will automatically be set to 256. 
Use I -4 I PART /INST I ► j to move the display pointer and scroti through the entire 
data buffer to see ail'the data in the buffer. 



Six bytes displayed 

I : 

Pointer: 256 255 254 • 

**-* H-:H-:-» Jfcsf:-* 



2 1 

►**-*.*:.•+:-» and finally disappears 



As new data is recived, old 
data moves back ... 

The most recent MIDI data is located at pointer 256 



Data Lei el 



MIDI data is displayed in hexadecimal notation. " " indicates that MIDI data has not yet been 

received. One of the following symbols will be displayed in front of each MIDI data byte to indicate 
the type of data. 



00— 7F, F7 (data bytes, EOX) 

80— F6 (status bytes) 

F8 — FE (realtime messages) 



A, B 



If data exists in the buffer before or after the displayed data, u 4 " or " ► " will be displayed to 
indicate this. Immediately after MIDI data is received, B will show ":+: n . ' 



* When the power Is turned on, the monitor buffer will be empty and the monitor will be set 
to STOP. 



98 



Chapter 



~\ 



This chapter explains basic procedures for various operations. 
Refer to this chapter when you want to create your own sounds 
or use the performance functions. 



/. How to adjust the volume 



*Hpw; readjust the volume-of j 
■therentire U-220 



Adjust the VOLUME knob. 



/How- to. adjust thefvolume 
by pressing downtarfhe 

^eyb'oafd' M^^^S^ -. ; 



Modify the channel 
aftertouch sensitivity. 



Ed i t/T i robre C 1 3 .-"Leve 1 
L e '•.-' e 1 — 1 0® U e 1 o Sens=! 



• CURSOR CE) 



Ed i t.--T i Fibre L 1 1 .-'Ley e 1 
4 Ch Pif't-er bens=BBB 





How to, adjust the.volume ; 
by playing.notes;Strongiy :| 

-or softly'-'-' * ' ' 














Modify the 
velocity sensitivity. 












■Ed i t-'T i Fibre til /Leue 1 
Level =108 Uelo Sens—Illi ► 



+ 7 Stronoly played notes will be louder 

Velocity will not affect volume 
—7 Stronoly played note* will be softer 




HnMI 



Modify the timbre level. 



Ed it/Ti Fibre [ 1 VLevel 
Level =im Uelo Sens=+" 



+ 7 Stronoer sftertouch will increase the volume 

Aftertouch will not affect volume 
—7 Stronger aftertouch will decrease the volume 



iHowlioadjustithelbalanG 



itf^&cmm 



m 



Uet : 



Modify the rhythm inst 
level. 



Ed i t..'"Rhy thins I nst^Leve 1 

Bl :Lewel=Bffl» U.Sens=+7* 



100 



I.How to adjust the volume 



Hw to adjusMe^ievef bf P 

..part . . . m ,, rt j 



How to adjust the level of a 
part 1 — 6 



Modify the part level. 



Ed i t-'FatcfvPart 1 .•-"Output 
ftsgn=Dry Pan=?< 



— CURSOR Qjg 



Ed i t-'-patcrv'Part I .-'Output 
< Level -m 



How to adjust the level of 
rhythm part 



Modify the rhythm part 
level. 



Editz-patcrVR. Part 

R hy t h n = R - 1 : Stan d a r d Set 



— cursor nn 



Edit.""Patch.""R. Part 

< Lew© 1 = 1 2 B o o s t = n 



101 



2. How to change the output 



How to use the MIX OUT 



In the output assign setting display, select one of the following settings. 



Ed i t /Pat oh/Part 1 /Output 



Output Assign 


Effect 


Output Jacks 


Dry 


No effect is used 


MIX OUT' 


Rev 


Only Reverb 


Cho 


Pre Rev : Chorus and Reverb 
Post Rev : Only Chorus 



Pre Rev : reverb Is added to the sound processed by chorus 
Post Rev : reverb Is not added to the sound processed by chorus 



Pre Rev 



Dir2; 
Dirl" 



~>L 



J R DIRECT OUT 2 Dir2 



Dry 








Reverb 
/Delay 




J 


> *. 1 


Rev ; 


i " 


\ 


t ^ D 








t 


V ■* 




Cho"? 


Chorus 











"> L DIRECT OUT 1 Dirl 



Dry 



MIX OUT 



Rev 



Cho 



Post Rev 














Z *; UIKhC 1 OU 1 2 




?!; UIHbCI OUI 1 


















\ 


MIX OUT 




Reverb 
/Delay 




' •*. i 




/ 


» 


t ^ o 






/ 


i *"» 












Chorus 

















How to independently output a specified part 



You can output all parts independently by using MIX OUT (L/R), DIRECT OUT 1 (L/R), and 

DIRECT OUT 2 (L/R) as multl outputs. When using these as multi outputs, the output will be 

mono. 

In order to use multi outputs, specify the output assign and pan setting in the output assign 

display for each part as follows. 



Ed i t/Patch/Part i /Output 



Output Assign 


Effect 


Output Jacks 


Dir 1 


No effect is used 


DIRECT OUT 1 


Dir 2 


No effect is used 


DIRECT OUT 2 



102 



2.How to change the output 



How to independently output all parts 



You can output all parts independently by using MIX OUT (L/R), DIRECT OUT I (L/R), and 

DIRECT OUT 2 (L/R) as multi outputs. When using these as multi outputs, the output will be 

mono. 

In order to use multi outputs, specify the output assign and pan setting in the output assign 

-display -for-each;part-as follows, 



Ed i t^'Pa tcrv'Part 1 .•-•Output 
Rsgn==MBS FanNHK 



Output Jack 


Output Assign 


Pan 


OUT 1 (MIX L) 


Dry * 


7< 


OUT 2 (MIX R) 


Dry it 


>7 


OUT 3 (DIR 1 U 


Dir 1 


7< 


OUT 4 (DIR 1 R) 


Dir 1 


>7 


OUT 5 (DIR 2 L) 


Dir 2 


7< 


OUT 6 (DIR 2 R) 


Dir 2 


>7 



•k If you set output assign to Rev or Cho for OUT 1 and OUT 2, the output from OUT 1 and 
OUT 2 will no longer be Independent 



103 



3. How to select patches 



How to select patches from 
.the U-220. panel ; , , 



P-SUs ft co us t Piano £881 3 
RX I Si 181 1.01.1.01 101 1.81 J. IS 



Use [v] VALUE [£] to select. 



*To return to the play display press [ EXIT I sevaral 
times. 

(or hold iJUkrtP l and press EQVALUE.) 



How to select the patch 
corresponding to each 
program change number 



Edit.--Set.up.-MIDI 
4Rx Patch . Changed 



® Set the patch change reception switch to "Dir". 



Edit..."SetuF.-t1IDI 
Rx Control Ch : 



Set the control channel. 



Press i EXIT j several times to returm to the play 
display. 

(or hold (Jutl and press O VALUE .) 



Transmit a program change from the keyboard on 
the control channel you set in step©. 



How to select -patches from 
a,.connected,keyboard 



How to select a sptific patch 



Map settings 



Ed i t/Se tuF-/Map.-'Patoh 



CD Set the patch map as explained on page 50. 



Edii."'Setup.-'MIDI 

•4Rx Patch Change^RSSHHI > 



Set the patch reception switch to the number of the 
map you set. 



Edit--Setup/MIDI 
Rx Control Ch= 



<5) Set the control channel. 



@ Press i EXIT I several times to returm to the play 
display. 

Cor hoid QTOfJand praaalVl VALUE .) 



© Transmit a program change from the keyboard on 
the control channel you set in step ©, 



104 



4. How to change the current sound 



How to change the sound 



Select a timbre 



Howto change the sound 
,f rom the. Ur220 panel 



How to change the rhythm 
set 



Select a rhythm set 



Ed i t- y Patch. •••'Pari 1 si i Fibre 
Timbr^T-SWffis ft. Piano 2 



How to change a specific 
instrument in- theThythm' set 



Change the rhythm set and 
tone select 



E d i ts R h y t h pis I ns t s 1 o n • 
Bl = S-9ES DRUMS 



Ed i t-"Paich.--R . Part 
Rhythn=4BHis Standard Set> 




Change the^ound!^ 



,bu;areplaying ; '™ 



Set a controller 



Ed i t.-"Patch^Ctr 1 



(D Set the control change number. 

© Select the parameter to be controlled as explained on 
page 56. 

@ Set the channel on which the connected keyboard will 
transmit cotrol change data to match the reception 
channel of the U-220 part wish to change. 

© Move a controHer (slider, etc) while playing the 
keyboard. 

•If you are not usmg this setting, set the control change 
number to Off. 



105 



4.How to change the current sound 



How to change the sound 

from a connected keyboard 



Select another timbre 



Seiect another rhythm set 



Select the number 
specified by the program 
change number 



Edit..--Setup.--NIDI 

■*Rx Ti Fibre Chan9e=fflHl > 



Edit.--Set.up.-t1IDI 

4R-x Rhythm Change-H 



® Set the timbre change reception switch {or rhythm set 
reception switch) to "Dir". 



Press 1 EXIT I several times to return to the play 
display. 

t° r h ° w [Jutl and prasa [23 VALUE.) 



Transmit a program change From the keyboard on 
the channel that is being received by the part you 
want to change. 



Select the number specified 
sound(rhythm set) 



Map settings 



Ed i t. ''Setup.-* Map -'/l i nbr e 



Ed i t/Seiup.-"Map.--Rhy thr-i 

" nnnBBBPHBBBaBBmf 



(T) Set the timbre map (rhythm set map) as explained on 
page 50. 



Ed i i---Set.up."'t'1 1 D I 

<Rx Ti fibre Chan9e=EESffll ► 



Edit.."Seiup^MIDI 

4Rx Rhythm Change=if^H ► 



Set the timbre change reception switch (rhythm set 
reception switch) to the number of the map you set. 



Press JEXiTl several times to return to the play 
display. 

(or hoki Uu MPI and prow (R VALUE J 



Transmit a program change from the keyboard on 
the channel that is being received by the part you 
want to change. 



i06 



5. How to change the pitch 



5.How to change the pitch 





How to change the overall 
pitch . 












Master tuning 










Ed i t •■'"Setup.-'M . Tune 

Naster Tune=MllI$Hz 



How. to change the pitch of 
•••a. timbre-assigned to a part : 



Change the pitch in 
half-step or octaves 



Make fine adjustments of 
pitch 



Pitch shift coarse 



Pitch shift fine 



Ed i t/T i mhr-e C 1 ] sP i tch 
Uoarse=lI Fine=±@ fr 



Ed i t---T i p-rbre 1 1 1 ,-P i tch 
Coarse =±8 Fine=HI0» > 



-24 — (- 24 : half-step units C±2 octaves) 



~ 50— t- 50 ; units of lotm (±30 cants) 



• .How; to. change thepitch v." 

j^gi^S^alSiythrn" 



Ssouridl 



Change the pitch in 
half-step or octaves 



Make fine adjustments of 
pitch 



Pitch shift coarse 



Pitch shift fine 



Ed i t..-'Rhy thrv' I ns t--P i tch 

Bi ! Coarse 3 ©. Fine=±9 ¥■ 



Ed i t/'Rhy thiv I nst.-'P i tch 
B i : Coarse=±0 F i ne=! 



~ 24— + 24 : half-step units (±2 octsves) 



- 50— + 50 : units of lcent (±50 cants) 



107 



5.How to change the pitch 



How to change the pitch of a 
timbre using aftertouch 
(keyboard pressure) 



Ed i t.--T i r-ihre C i 1 sp i tch 

Coarse=±@ Fine=±y 



Change the pitch of ail notes 



Change. the 

pitch of individual notes 



Set channel aftertouch 
sensitivity 



Set polyphonic aftertouch 
sensitivity 



•CURSORfFI 



Ed i t.-T i Fibre L 1 D/F i tch 
4 Ch After bens=iK3 



• CURSOR FF1 



Ed i t--T i mbre C 1 3 sp i tch 

4 Poly After 5ens=ra 



+ 12 PresalnQ the keyboard will reiae the pitch 
± The pitch will not change 

- 12 
-24 

- 36 Preaaing the keyboard will lower the pitch 



£Jiange : the pitch bfJndiiudual 
rhythm instruments '■■'■''£ %}!'{££■ 



+ 12 Pressing the key will raiaa tha pitch 
± The pitch will not change 

- 12 
-24 

- 36 Pressing the key will lawar tha pitch 



Ed i tx-Rhy t hiv I nst.-'P i tch 
El :Coarse~±8 Fine =±8 > 



Change the pitch of ail notes 



Change the 

pitch of individual notes 



Set channel aftertouch 
sensitivity 



Set polyphonic aftertouch 
sensitivity 



— CURSOR fin 



Ed i t/Rhy thrV I nst/P i tch 
Bi MCh After Sens=fflH 



• CURSOR [0 



Ed i t^-Rhy thr-V I nst-'P i tch 
Bl MPoly flft Sen_=.=M 



+ 12 Pressing the koyboard will raise the pitch 
* D The pitch will not change 

- 12 

-24 

— 36 Pressino the keyboard will lower the pitch 



+ 12 Pressing the key will raise the pitch 

± The pitch will not change 

-12 
-24 
- 35 Pressing the key will Sower the pitch 



108 



5.How to change the pitch 



■jHpwtoasethe 

;benderto change the pitch - 



Change the pitch of a timbre 



Set the bend range of the 
timbre 



Ed i t.--T i robr-e C i : .-"P i toh 
■4 Bender RanSe-IBB I 



+ 12 


-1Z 

-24 
-36 



B«nd uo 



Change the pitch of a 

rhythm part 



Set the bend range of the 
rhythm part 



Ed i t--"Rhyt-hn-""Bender 
Bender Rari9e=y~2 



+ 12 



-12 
-24 

-35 



Bend up 



Band down 



109 



6. How to add reverb 





How to turn reverb on/off 












Ed i t-*'betuF.**Ef' f ect 
Chor \A&-0 n Re ver b=SH 



How to adjusfethevreverb^^- 
while playing ", :., ,, - 



Make controller settings 



Edit.'-Patch/Ctrl 



(D Set a control cahnge number. "i 

© Select the parameter you wish to control. 
(Select one of the following parameters to be 
controlled ; Rev Level, or Delay Feedback. Refer to 
page 56.) 



Edit..--SetuFv--niDI 
Rx Control Ch=l 



Set the control change transmission channel of the 
connected keyboard to match the control channel of 
the U-220. 



Ed i t.--Se tup.--Ef f ect- 
Cho r us-HH R e '..•' e r-b = n 



(D Turn the effect setup reverb "On". 



Move a controller (slider, etc.) while playing the 
keyboard. 





How to adjust the reverb 
■.settings ■'••". 














Adjust the type and time 












Ed i t--'Patoh--*Ef f ect .'Rever b 
Type=II§lii! Time=tta»- 












Adjust the level and 
delay feedback 








— CURSOR E 


Ed i t-'PatcrVEf f ect-'Reuer b 
■4Leyel=il Delay FB=fflBI 



*!f you are not using this setting, set the control change 
number "Off". 



30 



7. How to add chorus 



7.How to add chorus 



How to turn chorus on/off 



E d i t .*-'* Se t u p ■■•*" Ef" fe c t 
C h o r u s MSHI R e ver b=On 



How to. adjust the reverb 
;whHe playmg""3~7~ - 



Make controller settings 



Ed i t-.--Patch.-"Ctr 1 



CD Set a control change number, 

(D Select the parameter you wish control. 
(Select one of the following parameters to be 
controlled ; Chrs Level, Chrs Rate, or Chrs 
Feedback. Refer to page 56.) 



Ed i t.-'-Setup.-'M I D I 
Ex Control Ch=l 



Set the control change transmission channel of the 
connected keyboard to match the control channel of 
the U-220. 



Ed i t.-"Se tup/Ef f ect 
Chorus=On Reuerb : 



Turn the effect setup chorus "On H . 



Move a controller (slider, etc.) while playing the 
keyboard. 





How to adjust the chorus, 
settings 














Adjusttheiype 












Ed i t-'-patcrv^Ef f eot/Chor us 












Adjust the output mode and 

rate 








— CURSOR fFI 


Ed i t-.-'Patch-'Ef f ect^Chor us 

4 out=Mma Lev e i =mm ► 












Adjust the delay time and 
rate 








— CURSOR [T| 


Edit • •-Pa t ch --"Ef feet s Ch o r us 
■^Delay Tine=M Rate^HS^ 












Adjust the depth and 
feedback 






*~~ CURSOR [£ 


] 


Ed i t.-'Patcrv'Ef f ect-'Chorus 
4 Depth=M Feedback =OB 



*lf you are not using this setting, set the control change 
number "Off". 



Ill 



8. How to add vibrato 





How to adjust vibrato 
settings '•"•■■■/' 












Adjust the rate and 
waveform 












Ed i 1..--T i fibre 1 1 1 A' i brato 
Rate=IHs Waueforrc—lMl ► 












Adjust the depth and 

delay time 








^CURSORS 


] 


Ed i t.--T i fibre C i U AJ i brato 
^Depth-li Delay Time=@ > 












Adjust the rise time 








— CURSOR [fe 


] 


Ed i Wl i nbr e C 1 3 A* i brato 
•^ Rise Tine-iH fc- 



Use aftertouch to add 
vibrato to the entire timbre 



Set channel aftertouch. 
sensitivity 



•CURSORS] 



Ed i t.-T i nbr e C i 3 AJ i br at c 
4 Ch After Sens 55 ® 



flow to use the modulation, 
lever to add wibrato •*- - 



Ed I't^TiFfbretTD ^Uf Br ato 
Rate-SB Waveforn=fflBB 



• CURSOR IT1 



Ed i t..-'T i nbr e C 1 1 AJ i bra to 
4 Modulation Depth-IH 



How to useaftertouch(ke 



Ed i t£T i nbre CI 3 A-i i br ate 



Use aftertouch to add 
vibrato to individual notes 





.1 






Set polyphonic aftertouch 
sensitivity 








— CURSOR [fc 


] 


Ed i t AT i ribre CI 3 A- 1 i brato 
4 Poly After Sens=M ► 



12 



9. How to set channels 



9.How to set channels 



How to set the control 
channel 



Ed i t..-"'Set.up-"M I E> I 
Rx Control Ch=! 



How to set the. reception.... . . 

channel.ofeach part (1—6) ; 



Ed i t^Patoh^Par t 1 /M I D I 
Rx ChNBH 



^im 



How to^etthe'ireceDtiBni^l 

'channel of th^&^Moa^stm^ 

-&?;-?.■-.■■■ - ■- -■ -<<v^Ni&| 



Ed i t.-'Patc-h.-'R . Part 

Rhy thn=R- 1 : Standard Set > 



■ CURSOR eg] 



Ed i t--'Patch/R ■ Part 
* Rx Ch-I 



113 



1 0. How to use a sequencer 



[Example of connections] 



MIDI IN MID! OUT 



DO ODD _ 

era 

EEBB 



MIDI Sequencer 



MIDI OUT 




ffl O 



MIDI IN 



diri iT' i 'rj. P^— ■ ' ' J 



' r—i 

' — -■■ ' ' - I ! t 



MIDI Keyboard 



How to select patches 



CI) Set the patch change reception switch to "Dir". 

(If you want to select patches as specified by the patch map you set, select the appropriate patch 
map number.) 



Edii.-'Setup-*-MIDI 
4Rk Patch ChanSe—SB 



Transmit a program change on the same channel as the U-220's control channel. 

* Program changes are received only when In the play display. 

* Patch program change numbers are the same as patch numbers. 



How to change the volume of a part 



Transmit a control change message (control change number 7) on the same channel 
as the part you want to affect. 



14 



10.How to use a sequencer 



How to change part panning (stereo position) 



Transmit a control change message (control change number 10) in the same channel 
as the part you want to affect. 

* To set the U-220 to random panning you must use an exclusive message. 

* Each .instrument. in., the ..rhythm_part.can...ba-panned...indepBndentiy.....The„panning of .the 
rhythm part cannot be controlled using control change message. 



How to select timbres 



\]J Set the timbre change reception switch to "Dlr". 

(If you want to select timbres as specified by the timbre map you set, select the appropriate 
timbre map number.) 



Edit-'-Seiup^MIDI 
4Rx Timbre Chan'3e=I 



Transmit a program change on the channel being received by the part you want to select. 

* Program changes are received only when in the play display. : 

* Timbre program change numbers are the same as timbre numbers. 



How to select rhythm sets 



\l) Set the rhythm change reception switch to "Dir". 

(If you want to select rhythm sets as specified by the rhythm map you set, select the appropriate 
rhythm set map number.) 



Edit/Setup/MIDI 
4Rx Rhythm CharrSe=I 



Transmit a program change on the channel being received by the rhythm part. 

* Program changes are received only when in the play display. 

* Rhythm set program change numbers are the same as rhythm set numbers. 



115 



10-How to use a sequencer 



How to control a specific parameter 



Using a: controller 



Edit..--Pat.Gh.-;Ctrl . 



(I) Set the control change number. 

(D Select the parameter you wish to control (see page 56). 

(3) If you have selected a timbre parameter, transmit 
control change data from the sequencer on the channel 
being received by the part you wish to control. 

If you have selected an effect parameter, transmit 
control change data from the sequencer on the same 
channel as the U-220's control channel. 



Using exclusive messages 



<D Set the Device ID of the U-220 and that of 
the MIDI device to the same number, (page 
48.) 

(D Use "Individual" exclusive messages for 
control. 

* For details refer to the MIDI implementation 
chart. 



How to use a sequencer to reproduce the current settings 



Transmit data from the U-220 to the sequencer (see page 88). Transmit all data 
from the setup area and the temporary area. 

* When using the SUPER-MRC/MRC-500 or MRB-50D sequencer, use realtime record 
(SOFT THRU OFF). When using other sequencers, use realtime record mode. Same 
sequencers may not be able to receive or transmit the data correctly. 



(l)Transmit the data from the setup area 

© Select "Setup AH" from the following display. 



Dat-a.-'Bu 1 k ^Setup>'fi 1 1 
Bulk Durtp i 



Press ENTER . 



Pa ta.-"Bu 1 k .-'Setup.--p 1 1 
F u n ct i o n Co m p 1 e t e d , 



116 



10. How to use a sequencer 



(2)Transmit the data from the temporary area 

(D Select "Temp All" from the following display. 



Dat,a-"*"Bu 1 k -"'Temp 

Bulk Dump 1 



Press [ENTER 1 . 



Dat-a.--Bulk^Temp 

Fu not- i on C o n f- 1 e t. e d , 



117 



118 



Chapter 



This chapter contains an explanation of the error messages, help 
for troubleshooting., parameter lists, and other material. 



1. Error messages 



When the U-220 has been operated incorrectly or when an operation ended with an unexpected result, an error 
message will be displayed. Various other messages will be displayed for other special cases. Check the problem 
and take the appropriate action. 



Messages which appear when the power is turned on 



Internal Battery Low! 



Problem : The interna! backup battery has run low. 
Action : Consults Roland service station. 



Messages which appear when a PCM card (SN — TJ110 series) is used 



Check i 9 PCM Card 



When a PCM card is Inserted or removed this display will 
briefly appear and operation will halt for a short time, but 
this not a malfunction. 



Illegal PCM Card! 
Please? take it out, 



Problem : A card other than a PCM card Is Inserted Into the 

PCM card slot 
Action : Immediately remove the card from the PCM card 

slot 



Messages which appear when external MIDI devices are used 



5 


dsEx 


l:heok £ 


UP'I 


Error ! 




Sy 


sEx D 


at a Len 


9tr- 


Error ! 






MIDI 


Buffer 


Fl- 


11 ! 



Problem : Exclusive data was incorrectly received. 
Action : Check MIDI cables and the transmitted data, and 
try the operation once again. 



Problem : The amount of MIDI data received was too much for 

the U-220 to handle. 
Action : Check If a large number of messages which 

require a bit of time to process (such as 

program changes, etc.) are being transmitted In 

rapid succession. 



MIDI Off Line! 



Problem ■: After receiving an active sensing message, no 
messages have been received since 300 msec ago. 
Action ; Check if the MIDI cable has been unplugged. 



120 



2. Troubleshooting 



2. Troubleshooting 



If there is no sound or if the U-220 behaves in an unexpected way, check these points first. If these do not solve the 
problem, consult the dealer where you purchased the U-220 or a nearby Roland service station. 

No sound / volume too low 

[No sound / volume too low even in ROM play} 

•Is the VOLUME lowered? 
Check the volume adjustment of the U-220 and the connected mixer/ amp system. 

•Are the outputs connected correctly? : - 

If you hear sound in the headphones, the reason is probably in the amp or cable. Check 
connections once again. 



[No sound / volume too low in other than ROM play) 

•Are the part's key range and velocity threshold settings appropriate? 
Refer to page 59. 

•Are the part or timbre levels lowered? 
Refer to page 62, 66, 75. 

•Have the part levels or. timbre levels been lowered by a control change message 
from an external MIDI device? 
Select another or the same patch. 

•Is the PCM card containing the selected tone inserted correctly? 
Refer to page 66. 

•Does the transmission channel of the connected keyboard match the reception 
channel of each part? 
Check these settings in the play mode display {page 16). 



121 



2. Troubleshooting 



The pitch is incorrect 



Us the master tuning correct? 
Refer to page 46. 

lAre the pitch shift settings of each timbre correct? 
Refer to page 68. .... ... .... 

►Has a MIDI pitch bender message (other than 0) been received? 
Transmit a pitch bender message of (center) to the U-220 or re-select the patch. 



Cannot select sounds 

•Are yon in edit mode or data mode? 
P ress i EXiT | to return to play mode. 

The effect is not applied 

• Turn on the setup chorus or reverb settings (page 46). 

•Are the output assign settings of each part set to Dry, Dir 1, or Dir 2? 
Set the output assign of each part to Rev or Cho (page 61, 78). 

MIDI data from a sequencer is not received correctly 

•Are the reception channels of each part set correctly? 
Check these settings from the play mode display (page 16). 

•Are the key range or velocity threshold of each part set correctly? 
See page 60. 

•Are the voice reserve settings appropriate? 
See page 58, 63. 



22 



3. Parameter List 



3, Parameter List 



Setup 



Parameter Group 


Parameter 


Setting Range 


M.Tune 


Master Tuning 


427.4^52.9 Hz 


Effect 


Chorus Switch 


Off, On 


Reverb Switch 


Off, On 


LCD 


LCD Contrast 


0-15 


MIDI 


..Control. .Channel 


■ 1—16.. . . ...,,.. , , 


Patch Change Switch 


Map1— 4, Dir, Off 


Timbre Change Switch 


Map1— 4, Dir. Off 


Rhythm Change Switch 


Map1— 4, Dir, Off 


Rhythm Inst Assign 


Map1— 4. Dir. Off 


Rx Exclusive Switch 


Off, On 


Device !D 


1-32 


Map 


Patch Map 


1—64, Dir, Off 


Timbre Map 


1—128. Dir, Off 


Rhythm Map 


1—4, Dir, Off 


Rhythm Inst Map 


C-1—G9, Dir, Off 



Rhythm Set 



Parameter Group' '" 


Parameter 


Setting Range 


Name 


Rhythm Set Name (12 Characters) 


(space) A-Z b-z 0-9 -/**.. :;■!" 

#*%&'(> ( > {} [] _? J> 


Bender 


Bender Range (Bend Down) 


-36. -24, -12— ±0 


Bender Range (Bend Up) 


C— 12 


Inst 
(B1— D7) 


Tone 


Tone Select 


1, 1—31 - 1-128 


Source Key 


C-1— G9 


Mute 


Off, B1-D7 


Level 


Level 


0—31 


Velocity Sensitivity 


-7— +7 


Env Mode 


Sustain, NoSustain 


Env Attack Rate 


-7-+ 7 


Env Decay Rate 


-7-+ 7 • 


Env Release Rate 


-7— +7 


Pitch " 


Pitch Shift Coarse 


-36, -24, -12— +12 


Pitch Shift Fine 


-50— +50 


Channel Aftertouch Sensitivity 


-36, -24, -12-+ 12 


Polyphonic Aftertouch • Sensitivity 


-36, -24,-12— +12 


Pitch Randomize 


0-15 


Auto Bend Depth 


-36. -24, -12-+ 12 


Auto Bend Rate 


0—15 


Detune Depth 


0—15 


Output 


Output Assign 


Dry, Rev, Cho, Dir 


Pan 


7 >— > <— < 7, Rnd 



123 



3. Parameter List 



Patch 



Parameter Group 


Parameter 


Setting Range 


Name 


Patch- Name (12 Characters) 


(space) A-Z a-z 0-9 -/■+*..: ;«1" 


Effect 


Chorus 


Chorus/Flanger Type 


Chorusl, Chorus2, F8- Chorus, 
Fianger, Short Delay 


Output -Mode •-. ■;.. 


•J?re-rRev, -Post -Rev 


Chorus/Flanger level* 


0—31 


Delay Time 


0—31 


Chorus /Fianger Plate* 


0—31 


Chorus/Flanger Depth 


0—31 


Feedback* 


-31— +31 


Reverb 


Reverb/Delay Type 


Room 1—3, Halll, 2 
Gate, Delay, Cross Delay 


Reverb/Delay Time 


0-31 


Reverb/Delay Level* 


0—31 


Feedback * 


0-31 


Ctrl 


Prm1 


Control Number 


0-5, 7—31, 64—95. Off 


Parameter Select 


See* 1 


Prm2 


Control Number 


0-5. 7—31, 64—95, Off 


Parameter Select 


See*1 


Prm3 


Control Number 


0-5, 7-31, 64-95, Off 


Parameter Select 


See* 1 


Parti— 6 


Timbre 


Timbre Select 


T-001-T-128 


V.Rsv 


Voice Reserve 


0—30 See* 2 


MIDI 


Rx Channel 


1—16, Off 


Key Range ■ 


C-1— G9 


Velocity 


1—127, Above. Below 


Volume Receive Switch 


Off, On 


Pan Receive Switch 


Off, On 


Moid Receive Switch 


■Off, On 


Output 


Output Assign 


Dry, Rev, Cho, Dir 


Part Level 


0—127 


Pan 


7 >— > <— < 7, Rnd 


R.Part 


Rhythm Set Select 


1-4 


Voice Reserve 


0—30 See * 2 


Rx Channel 


1—16, Off 


Part Level 


C— 127 


Part, .Levs! -Boost 


-Off,- On 


Volume Receive Switch 


Off. On 






Hold Receive Switch | 


Off, On 



* 1 Parameters indicated by * can be controlled (see page 56). 

*2 Voice reserve settings for Parts 1.-6 and the Rhythm Part must total 30 or less. 



124 



3. Parameter List 



; Timbre 



Parameter Group 


Parameter 


Setting Range 


Name 


■Timbre Name (12 Characters) 


(apace). A-Z a.-.z 0-9 -/♦*..::■ 

!"#$>!& ' ()<>{)[]_? j> 


Tone 


Tone Select 


I, 1-31 - 1—128 


Level 


Timbre Level* 


0-127 


Velocity .Sensitivity 


.~.7^-+7 -. . .. 


Channel Aftertouch Sensitivity 


-7-+ 7 


Env Attack Rate * 


-7-+ 7 


Env Decay Rate* 


-7—+ 7 


Env Sustain Level* 


~7— +7 


Env Release Rate* 


-7— +7 


Pitch 


Pitch Shift Coarse 


- 24-+ 24 


Pitch Shift Fine 


- 50-+ 50 


Bender Range (Bend Down) 


-36, -24,-12—0 


Bender Range (Bend Up) 


0—12 


Channel Aftertouch Sensitivity 


-36, -24, -12— +12 


Polyphonic Aftertouch Sensitivity 


-36,-24,-12— +12 


Auto Bend Depth* 


-36, -24, -12— +-12 


Auto Bend Rate* 


0—15 


Detune Depth* 


0-15 


Vib 


Rate* 


0—63 


Waveform * 


Tri, Sine, Square, Sawllp, SawDwn, 
Trim. Tritl2 Randml— 4 


Depth* 


0—15 


Delay Time* 


0-15 


Rise Time* 


0-15 


Modulation Depth* 


0—15 


Channel Aftertouch Sensitivity 


0-15 


Polyphonic Aftertouch Sensitivity 


0—15 



* : These parameters can be controlled using Control Change data, 
want to control, (see page 56.) 



In the Patch, specify the parameters you 



125 



4. Preset Tone List 



*(note name) = split point 


(v = ) = velocity threshold 


No. | Tone Name 


Tone Type 


Remarks 


Piano 


1 


A. Piano 1 


V-MIX 


Soft 


2 


APiano 2 


V-MIX 




3 


APiano 3 


V-MIX 


Bright 


4 


A Piano 4 


V-MIX 


Honky-tonk 


5 


A.Piano 5 


SINGLE 


Soft 


6 


A.Piano 6 


-DETUNE 


•Soft- 


7 


A.Piano 7 


SINGLE 


Hard 


8 


APiano 8 


DETUNE 


Hard 


9 


A.Piano 9 


SINGLE 


Hard and bright 


10 


A.Piano 10 


DETUNE 


Hard and bright 


11 


EPiano 1 


V-MIX 


Soft + hard 


12 


EPiano 2 


SINGLE 


Soft 


13 


EPiano 3 


DETUNE 


Soft 


14 


EPiano 4 


SINGLE 


Hard 


15 
_ 


EPiano 5 


DETUNE 


Hard 


BRIGHT EP1 


SINGLE 




17 


BRIGHT EP2 


DETUNE 




Vibraphone 


18 


VIB 1 


SINGLE 


Soft 


19 


VIS 2 


DETUNE 


Soft 


20 


VIB 3 


V-MIX 


Soft + hard 


Beil 


21 


BELL 1 


SINGLE 


Long decay 


22 


BELL 2 


DETUNE 


Long decay 


Marimba 


23 | MARIMBA 


SINGLE 




Guiter 


24 


A.GUITAR 1 


SINGLE 




25 


A.GUITAR 2 


DETUNE 




26 


AGUITAR 3 


DUAL 




27 


A.GUITAR 4 


DUAL 


Added lower octave 


28 


AGUITAR 5 


V-SW 


Slow attack/fast (v=100) 


29 


EGUITAR 1 


V-SW 


Muted/unmuted (v=100) 


30 


EGUITAR 2 


SINGLE 


Muted 


31 


EGUITAR 3 


SINGLE 




32 


EGUITAR 4 


DETUNE 




33 


HEAVY.EG 1 


SINGLE 


Combination fifths 


34 


HEAVY.EG 2 


DETUNE 


Combination fifths 


Bass 


35 


SLAP 1 


SINGLE 


Thumped, pulled, harmonics (E2, F # 4) 


36 


SLAP 2 


DETUNE 


Thumped, pulled, harmonics (E2, F#4) 


37 


SLAP 3 


SINGLE 


Thumped, pulled, harmonics (B2, F#4) 


38 


SLAP 4 


DETUNE 


Thumped, pulled, harmonics (B2, F # 4) 


39 


SLAP 5 


V-SW 


Thumped/pulled (v = 100), harmonics (F#4) 


40 


SLAP 6 


V-SW 


Slow attack/fast attack (v=100), harmonics (F #4) 


41 


SLAP 7 


SINGLE 


•Thumped, -jtuiled, harmonics (B2, C # 4) 


42 


SLAP 8 


DETUNE 


Thumped; pulled, harmonics (B2, C # 4) 


43 


SLAP 9 


SINGLE 


Thumped, pulled, harmonics (B2, C # 4) 


44 


SLAP 10 


DETUNE 


Thumped, pulled, harmonics (B2, C # 4) 


45 


SLAP 11 


V-SW 


Thumped/pulled (v=100), harmonics (C # 4) 


46 


SUP 12 


V-SW 


Slow attack/fast attack (v = 100), harmonics CC#4) 



I 26 



4. Preset Tone List 



No | Tone name 


Tone Type 


1 Remarks 


Bass 




47 


FINGERED 1 


SINGLE 


Fingered, harmonics (C # 5) 


48 


FINGERED 2 


DETUNE 


Fingered, harmonics (C # 5) 


49 


PICKED 1 


SINGLE 




50 


PICKED 2 


DETUNE 




51 


FRETLESS 1 


SINGLE 


Fretless, harmonics (D # 6) 


52 

53 


FRETLESS 2 


DETUNE 


Fretless, harmonics (D # 6) 


AC.BASS 


V-MIX 


•Added fret -noise -. .-■ .. ■....,.-. 


54 


SYN.BASS 1 


V-MIX 


Soft' + hard 


55 


SYN.BASS 2 


SINGLE 


Soft 


55 


SYN.BASS 3 


SINGLE 


Hard 


57 


SYN.BASS 4 


SINGLE 




58 


SYN.BASS 5 


SINGLE 




59 


SYN.BASS 6 


SINGLE 




60 


SYN.BASS 7 


SINGLE 




61 


SYN.BASS 8 


V-MIX 




Choir 


62 


CHOIR 1 


SINGLE 


Long decay 


63 


CHOIR 2 


SINGLE 


Short decay 


64 


CHOIR 3 


DUAL 


Long decay, added lower 


65 


CHOIR 4 


DUAL 


Short decay, added lower octave 


Strings 




66 


STRINGS 1 


SINGLE 


Long decay 


67 


STRINGS 2 


SINGLE 


Short decay 


68 


STRINGS 3 


DUAL 


Long decay, added lower 


69 


STRINGS 4 : 


DUAL 


Short decay, added lower octave 


Organ 


70 


EORGAN 1 


SINGLE 




71 


EORGAN 2 


DETUNE 




72 


EORGAN 3 


SINGLE 




73 


EORGAN 4 


DETUNE 




74 


EORGAN 5 


SINGLE 




75 


EORGAN 6 


DETUNE 




76 


EORGAN 7 


SINGLE 




77 


EORGAN 8 


DETUNE 




78 


EORGAN 9 


DUAL 




79 


RORGAN 1 


DUAL 




80 


RORGAN 2 


DUAL 




Wind 


81 


SOFT TP 1 -. 


SINGLE 




82 


SOFT TP 2 


DETUNE 




83 


TP/TRB 1 


SINGLE 


in 


84 


TP/TRB 2 


SINGLE 


Soft 


85 


TP/TRB 3 


SINGLE 


Bright 


86 


SAX 1 


SINGLE 





87 


SAX 2 


SINGLE 


Soft 


88 


SAX 3 


SINGLE 


Bright 


89 


SAX 4 


DETUNE 




90 


SAX 5 


DUAL 


Added lower octave 


91 


BRASS 1 


SINGLE 




92 
""93 


FLUTE 1 


SINGLE 




SHAKU 1 


SINGLE 




94 


SHAKU 2 


DETUNE 





127 



4.Preset Tone List 



No 



Tone Name 



Synthesizer 



95 
96 
97 
98 
99 
100 
101 
102 
103 
104 
105 
106 
107 
108 
109 

no 

111 

112 

113 
114 
115 
116 
117 
118 
119 
120 
121 
122 
123 
124 
125 
126 
127 



FANTASIA 
BELL PAD 
SYN CHOIR 
BREATH VOX 
SYN.VOX 1 
SYN.VOX 2 
LCALLIOPE 
CALLIOPE 
METAL HIT 
RICH BRASS 
JP.BRASS 1 
JP.BRASS 2 
BRASTRINGS 
STRINGPAD1 
STRINGPAD2 
JP.STRiNGS 
PIZ2AGOG0 
FANTA BELL 
SPECT BELL 
BELL DRUM 
SYNTH HARP 
PULSEWAVE1 
PULSEWAVE2 
PULSEWAVE3 
SAW WAVE 1 
SAW WAVE 2 
PIZZ 
METAL 
BREATH 
NAILS 

SPECTRUM 1 
SPECTRUM 2 
N.DANCE 



Tone Type 



Remarks 



DUAL 

DUAL 

SINGLE 

DUAL 

SINGLE 

SINGLE. 

DUAL 

SINGLE 

DUAL 

SINGLE 

SINGLE 

SINGLE 

DUAL 

SINGLE 

DUAL 

SINGLE 

DUAL 

SINGLE 

DUAL 

DUAL 

SINGLE 

SINGLE 

SINGLE 

SINGLE 

SINGLE 

SINGLE 

SINGLE 

SINGLE 

SINGLE 

SINGLE 

SINGLE 

SINGLE 

SINGLE 



Drums 



128 DRUMS 



SINGLE 



Refer to the drums list 



128 



4.Preset Tone List 



'Drums List 



o 



74 



79 



81 



86 



91 



93 




Tone Name 



Bass Drum 1 



Bass Drum 2 



Rim Shot 



Snare Drum 1 
Hand Clap" 



Snare Drum 2 



Low Tom Tom 1 



Closed High Hat 1 



Low' Tom Tom 2 



Open High Hat 2 



Middle Tom Tom 1 



Open High Hat 1 



Middle Tom Tom 2 



High Tom Tom 1 
Crash Cymbal 



High Tom Tom 2 



Ride CvmbaT 



China Cymbal. 



Cup (Mute J 



Off 



Off 



Cowbell 

Crash Cymbal 

Snare Drum 3 



Ride Cymbal 



Off 



Off 
■Off 



Off 
W 



Off 



Off 



Off 



Off 



Cabasa 



Off 



Off 



Off 



Off 



w 



Off 




Off 



Off 



High Pitch Tom Tom 2 
"Off 



High Pitch Tom Tom 1 
Off 



Off 



Bass Drum 3 



Bass Drum 4 
Snare Drum 4 



Snare Drum 5 
Snare. Drum 6 




Low Tom Tom 3 



Closed High Hat 2 
Middle Tom T om 3' 
China Cymbal 



High Tom Tom 3 
Ride Cymbal , 



"Off 
Off 



129 



5. Initialized Settings 



For the initialization procedure, see page 93. 
■ Setup 



■ Patch 



Parameter 
Group 


Parameter 


Value 


M.Tune 


Master Tune 


440.0 Hz 


Effect 


Chorus Sw 


On 


Reverb 'Sw 


On 


LCD 


LCD Contrast 


10 


MIDI 


Rx Control Ch 


16 


Rx Patch Change 


Dir 


Rx Timbre Change 


Dir 


Rx Rhythm Change 


Dir 


Rx Rhythm Inst Assign 


Dir 


Rx SysEx 


On 


SysEx Device ID 


17 


Map 


Patch Map 


1—64 
ail Dir 


Timbre Map 


1—128 
al! Dir 


Rhythm Map 


,.1—4 
all Dir 


Rhythm Inst Map 


B1— D7 
all Dir 



Parameter 
Group 


Parameter 


Value 


Name 


Patch Name 


Acoust Piano 


1 

UJ 


Chorus 


Output Mode 


Pre Rev 


"Chorus Level 


25 


Chorus Type 


Chorusl 


Delay Time 


12 


Chorus Rate 


25 


Chorus Depth 


5 


Feedback 





Reverb 


Reverb Type 


HaM 


Reverb Time 





Reverb Level 


6 


Delay FB 





Ctrl 


Prml 


Ctrl # 


Off 


Parameter 


Timbre Level 


Prm2 


Ctrl # 


Off 


Parameter 


Timbre Level 


Prm3 


Ctrl # . . 


.Off 


Parameter 


Timbre Level 


CD 


Timbre 


Timbre # 


T-001 


V.Rsv 


Voice Reserve 





MIDI 


Rx Ch 


(same as 
part number) 


Key Range 


C-1 - G9 


Velocity Thresh 


127/Below 


Rx Volume 


On 


Rx Pan 


On 


Rx Hold 


On 


Output 


Output Assign 


Rev 


Part Level 


127 


Pan 


>< 


R.Part 


Rhythm Set # 


1 


Voice Reserve 





Rx Ch 


10 


Part Level 


127 


Boost 


Off 


Rx Volume 


On 






Rx Hold 


On 



130 



5.fnitialized Settings 



Timbre 



Parameter 
Group 


Parameter 


Value 


Name 


Timbre Name 


A.Piano 2 


Tone 


Tone # 


I- 2 


Level 


Timbre Level 


127 


.Velocity Sensitivity 


•■+7 : 


Ch Aftertouch Sens 





Env Attack Rate 





Env Decay Rate 





Env Sustain Level 





Env Release Rate 





Pitch 


Pitch Shift Coarse 





Pitch Shift Fine 





Bender Range (Down) 


-2 


Bender Range (Up) 


2 


Ch Aftertouch Sens 





Poiy Aftertouch Sens 





Auto Bend Depth 





Auto Bend Rate 


15 


Detune Depth 


5 


Vib 


Rate 


50 


Waveform 


Tri 


Depth 





Delay Time 





Rise Time 





Modulation Depth 


8 


Ch Aftertouch Sens 





j Poly Aftertouch Sens 






Rhythm Set inst B1 - D7 



Parametr 


Value 


Rhythm Set Name 


Standard Set 


Bender Range (Down) 


-12 


Bender Range (Up) 


12 


,.instai ~,D7 .-,. , ,,.....„.., .. 


Tone # : Name 


Refer to 
following table 


Source Key 


Mute 


Inst Level 


31 


Velocity Sensitivity 


+ 7 


Env Mode 


No Sustain 


Env Attack Rate 





Env Decay Rate 


(G3 is + 2) 


Env Release Rate 





Pitch Shift Coarse 


(G3 is 12) 


Pitch Shift Fine 


.0 


Ch Aftertouch Sens ' 





Poly Aftertouch Sens • 





Pitch Randomize 


... 


Auto Bend Depth 





Auto Bend Rate 





Detune Depth 





Output Assign 


Refer to 
following table 


Pan 



131 



5.lnitiaiized Settings 



35 



Inst 



Tone 



Tone # : Name 



-128 : DRUMS 




-128 



-12B 



DRUMS 
DRUMS 



-128: DRUMS 



128 : DRUMS 



128 : DRUMS 



-128 : DRUMS 



128 : DRUMS 



-128 : DRUMS 



-128 : DRUMS 



-128 : DRUMS 



128 : DRUMS 



128 : DRUMS 



128 



-128 



DRUMS 
DRUMS 



128 : DRUMS" 



- 128 : DRUMS 



Source Number 



Mute 



35 



36 



Bass brum 1 
Bass Drum 2 



off 



37 : Rim Shot 



off 



38 : Snare Drum 1 



"W 



"39 : Hand Clap 



off 



40 ....:. Snare Drum 2" 



off 



41...;.. Low Tom Tom 1 



off 



42 : Closed H.H 1 



off 



43 : Low Tom Tom 2 



A #2 



44 : Open rCiTT - 



45 : Mid Tom Tom 1 



A#2 



46 : Open H.H 1 



47 ....: Mid Tom Tom 2 



off 

W2~ 



48 
4§" 



Hi Tom Tom 1 



off 



Crash Cymbal 



off 



50 : Hi Tom Tom 2 



off 



-128: DRUMS 



128 



^02: 



DRUMS 
LATIN 2 



128 : DRUMS 



-128: DRUMS 



DRUMS 



DRUMS 



-128 : PRUNES" 



2-002: LATIN 2 



2-002: LA 



2-002: LA 



2-002: 
TJ02: 



LA 



2-002: LA 



2-002: LATIN 2 



2 - 002: 



1N2 



IN~T 



1N2 



LATIN 2 



IN 2 



2 - 002 : 

1-128 



LATIN 2 
LATIN 2 



2 - 002: 



DRUMS 
LATIN 2 



2-002: LATIN 2 



2-002: LATTN~2~ 



2-002: LATIN 2 



2-002: LATIN 2 



LATIN 2 



GUIRO 2 



2-027: GUIRO 1 



2-002: LATIN 2 



128 : DRUMS 



2-002: LATIN 2 



I -128 : 
2-002: 



DRUMS 



2-002: 



LATIN 2 
LATIN 2 



1-128 : DRUMS 



-128 : DRUMS 



-128 : DRUMS 



1-128 



-128 



DRUMS 
DRUMS 



128 : DRUMS 



1-128 
1-128 



DRUMS 



DRUMS 



-128: DRUMS 



1-128 : DRUMS" 



-128 : DRUMS 



2-002: LATIN 2 



2-002: 
2-002: 



LATIN 2 



TSF 



LATIN 2 
DRUMS 



51 



5T 



Ride Cymbal 
China Cymbal 



off 



off 



53 : Cup (mute) 



off 



54 : Tambourine 



off 



55 : Splash Cymbal" 



56 : Cowbell 



off 



57 : Crash Cymba T 



off 



58 : Snare Drum 3 



off 



59 : Ride Cymbal 
_6Q: Bongo ~H 



off 



W 



61 : Bongo -L 



ofT 



62 : Conga (mute) 

63 : Conga -H 

64 : Conga -L 



bff 



"W 



off 



65 : Timbale-H 



off 



66 . ..: Timbale — L 



off 



67 ..: Agogo- H 



off 



68 : Agogo-L 



off 



69 : Cabasa 



off 



70 : Maracas 



off 



71 : Short Whistle 



off 



72 : Long Whistle 



off 



73 : Vibra-Slap 



.alt 



74 : Bell Tree 



off 



Claves 



off 



Guiro 2 



off 



77 : Guiro 1 



F 5 



78 : Castanets 



E5 



79 : Hi Pitch Tom 2 



off 



SO : , Triangle 



off 



81 : Hi pitch Tom 1 



oft 



82 : Wood Block 



off 



8T 

W 



Jingle Be IF 



off 



Bass Drum 3 



off 



85 : Bass Drum 4 



off 



86 : Snare Drum 4 



"olF 



87 : Snare Drum 5 



off 



Snare Drum 6 



off 



89_.:.Low Tom Tom 3 



off 



off 



90 



91 



Closed H.H 2 
Mid Tom Tom 3~ 



off 



92 



9T 



China Cymbal 
Hi Tom T om 3 



off 



off 



94 : Ride Cymbal 



off 



95 : Native Drum - 1 



off 



96 : Native Drum -2 



off 



97 : Native Drum -3 



off 



off 
W 



Output 



Pan 



X 



X 



X 



>< 



'TT 



>< 



6> 



<2 



6> 



<2 



>< 



~<T 



>< 



<4 



<2 



<4 



T> 



6> 



TT 



4> 



>< 



2> 



<2 



>< 



4> 



<4 



<2 






T> 



4> 



<2 



<4 



4> 



4> 



2> 



<2 






T> 



4> 



4> 



6> 



>< 



>< 



<4 



<2 



X 



<6 



7> 



TY 



>< 



>< 



>< 



>< 



> < 



4> 



<2 



<4 



~<T 



2> 



4> 



<4 



<2 



X 



X 



Output 
Assign 



..Dry,. 



Dry 



_Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Dry 



Dry 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



Rev 



1 32 



6. Blank Charts 



B.BIank Charts 



Date 



Setup 



► Patch Map: # 



M.Tune 


Master Tune 


Hz 


Effect 


Chorus 


Off 


On 


'Reverb 


off • 


■.*on ■■ - 


LCD 


LCD Contrast 




MID! 


Rx Ctrl Ch 




Rx Patch Change 




Rx Timbre Change 




Rx Rhythm Change 




Rx Rhythm Inst Assign 




Rx Sys Ex 


Off 


On 


Sys Ex Device ID 





► Rhythm Set Map : # 








1 


2 


3 


4 


5 


6 


7 


8 


9 





\ 




















■JO ■,. 










..... 


,■■ 




....J 






20 






















30 






















40 






















50 






















60 






















70 






















80 






















90 






















100 






















110 






















120 























• Timbre Map : # 








1 


2 


3 


4 


5 


6 


7 


8 


9 









1 


2 


3 


4 


5 


6 


7 


8 


9 





N 

























X 




















10 






















10 






















20 






















20 






















30 






















30 






















40 






















40 






















50 






















50 






















60 






















60 






















10 






















70 






















80 






















80 






















90 






















90 






















100 






















100 






















no 






















110 






















120 




— I — 


















120 























• Rhythm Inst Map: # 





C 


c# 


D 


D# 


E 


E# 


F 


F# 


G 


G# 


A 


A# 


B 


-1 




























1 




























2 




























3 




























4 




























5 




























6 




























7 




























8 




























9 





























133 



6.Blank Charts 



Date 



■ Patch 


# : Name : 






o 

UJ 


Chorus 


Type 






m 

C 

03 

a. 


Timbre 


Timbre # 




Output Mode 




V.Rsv 


Voice Reserve 




Level 




■ «MD! 


Rx Ch 




Deiay Time 




Key Range 


_ 


Rate 




Velocity Thresh 




Depth 




Rx Volume 




Feedback 




Rx Pan 




Reverb 


Type 




Rx Hold 




Time 




Output 


Output Assign 




Level 




Level 




Delay FB 




Pan 




Ctrl 


Prm1 


Ctrl # 




0. 


Timbre 


Timbre # 


— 


Parameter 




V.Rsv 


Voice Reserve 




Prm2 


Ctrl* 




MIDI 


Rx Ch 




Parameter 




Key Range 


— 


Prm3" 


Ctrl # 




Velocity Thresh 




Parameter 




Rx Volume 




r 

ra 

CL 


Timbre 


Timbre # 




Rx Pan 




V.Rsv 


Voice Reserve 




Rx Hold 




MiDi 


Rx Ch 




Output . 


Output Assign 




Key Range 


- 


Level 




Velocity Thresh 




Pan 




Rx Volume 




Ifl 

C 


Timbre 


Timbre # 




Rx Pan 




V.Rsv 


Voice Reserve 




Rx Hold 




MIDI 


Rx Ch 




Output 


Output Assign 




Key Range 


— 


Level 




Velocity Thresh 




Pan 




Rx Volume 






Timbre 


Timbre # 




Rx Pan 




V.Rsv 


Voice Reserve 




Rx Hold 




MIDI 


Rx Ch 




Output 


Output Assign 




Key Range 


- 


Level 




Velocity Thresh 




Pan 




Rx Volume 




CD 


Timbre 


Timbre # 




Rx Pan 




V.Rsv 


Voice Reserve 




Rx Hold 




MIDI 


Rx Ch 




Output 


Output Assign 




Key Range 


_ 


Level 




Velocity Thresh 




Pan 




Rx Volume 










Rx Pan 








Rx Hold 






Output 


Output Assign 






Level 






Pan 






Rhythm Part 


Rhythm Set # 






Voice Reserve 






Rx Ch 






Level 






Boost 






Rx Volume 










Rx Hold 





134 



6. Blank Charts 



Date 



Timbre 



# 



Name : 



Tons # 




"33 
> 

.3 


Timbre Level 




Velocity 




Ch '-Aftertouch 




Env Attack 




Env Decay 




Env Sustain 




Env Release 





u 


Pitch Coarse 




Pitch Rne 




Bender Range (Down) 




Bender -Range ' '(Up) ' :: 


■ ■ ■-- 


Ch Aftertouch 




Poly Aftertouch 




A. Bend Depth 




A. Bend Rate 




Detune Depth 





& 
5 


Rate 




Waveform 




Depth 




-^elay Trme 




Rise Time 




Mod. Depth 




Ch Aftertouch 




Poly Aftertouch 





Timbre 



# 



Name : 



Tone # 




"3 

> 


Timbre Level 




Velocity 




Ch Aftertouch 




Env Attack 




Env Decay 




Env Sustain 




Env Release 







Pitch Coarse 




Pitch Rne 




Bender Range (Down) 




Bender Range (Up) 




Ch Aftertouch 




Poly Aftertouch 


r 


A. Bend Depth 




A. Bend Rate 




Detune Depth 





> 


Rate 




Waveform 




Depth 




Delay Time 




Rise Time 




Mod Depth 




Ch Aftertouch 




Poly Aftertouch 





Timbre 



# 



Name : 



Tone # 




"33 
> 

-J 


Timbre Level 




Velocity 




Ch Aftertouch 




Env Attack 




Env Decay 




Env Sustain 




Env Release 





u 


Pitch Coarse 




Pitch Fine 




Bender Range (Dawn) 




Bender Range (Up) 




Ch Aftertouch 




Poly Aftertouch 




A. Bend Depth 




A. Bend Rate 




Detune Depth 





> 


Rate 




Waveform 




Depth 




Delay Time 




Rise • Time ■ • 




Mod. Depth 




Ch Aftertouch 




Poly Aftertouch 





135 



6.Blank Charts 



; Rhythm Set # : Name : 



Bander (Down) 




Bender (Up) 





Tone # : Name 



Source 'Key 



Mute 



Level 



Velocity 



Env Mode 



Env Attack 



Ertv Decay 



Env Release 



Pitch Coarse 



Pitch Fine 



Ch Aftertouch 



Poly Aftertouch 



Pitch Random 



A. Bend Depth 



A. Bend Rate 



Detune Depth 



Output Assign 



Pan 



lnst# 



Rhythm Set # : Name : 



Bender (Down) 




Bender (Up) 





Tone # : Name 



Source Key 



Mute 



Level 



Velocity 



Env Mode 



Env Attack 



Env Decay 



Env Release 



Pitch Coarse 



Pitch Fine 



Ch Aftertouch 



Poly Aftertouch 



Pitch Random 



A. Bend Depth 



A. Bend Rate 



Detune Depth 



Output Assign 
Pan 



lnst# 



Date 



Rhythm Set # : Name : 



Bender (Down) 




Bender (Up) 





Tone # : Name 



Source Key 



Mute 



Level 



Velocity 



Env Mode 



Env Attack 



Env Decay 



Env Re leas b 



Pitch Coarse 



Pitch Fine 



Ch Aftertouch 



Poly Aftertouch 



Pitch Random 



A Bend Depth 



A Bend Rate 



Detune Depth 



Output Assign 



Pan 



lnst# 



Rhythm Set # : Name 



Bender (Down) 




Bender (Up) 





Tone # : Name 



Source Key 



Mute 



Level 



Velocity 



Env Mode 



Env Attack 



Env Decay 



Env Release 



P'rtch Coarse 



Pitch Fine 



Ch Aftertouch 



Poly Aftertouch 



Pitch Random 



A Bend Depth 



A Bend Rate 



Detune Depth 



Output Assign 
Pan 



lnst# 



136 



6.Biank Charts 



Date 



Rhythm Set 



# : 



Name : 



Bender Y : 



38 



43 
45 



50 



55 
57 



62 



65 
67 
69 
71 
72 
74 
76 
77 
79 
81 
~83~ 
84 
86 
88 
89 
91 
93 
95 
96 
98 



Tone 



Tone # : Name Source 





Mute 



Level 



Level 



Veto 



Pitch 



Coarse 



Fine 



Output 



Assign 



Pan 



137 



6.Blank Charts 



Date 



Jump 



EXIT 



_ENTER 



RlP ART/I NST 



PART/INSTE 



m CURSOR 



CORSORfFI 



ED VALUE 



VALUE 



138 



Roland Exclusive Messages 



>Data Format for Exclusive Messages! 



Roland's MIDI implementation uses the following data format 
for ail exclusive messages (type IV): 



Byte 


Description 


FOH 


Exclusive status 


41H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Modal ID 


CMO 


Command ID 


[BODY] 


Main data 


F7H 


End of exclusive 



#M1DI status; FOH, F7H 

An exclusive message must be flanked by a pair of status 
codes, starling with a Manufacturer-ID immediately after FOH 
(MIDI versionl.0). 

sMartufacturer-ID: 41 H 

The Manufacturer-ID Identifies the manufacturer of a MIDI 
instrument that triggers an exclusive message. Value AtH 
represents Roland's Manufacturer-ID. 



s Device ID: DEV 



The Device-ID contains a unique value that identifies the 
individual device In the multiple implementation of MIDI 
Instruments, it is usually set to OOH - OFH, a value smaller 
by one than that of a basic channel, but value OOH - 1FH 
may be used for a device with multiple basic channels. 

* Model ID: MDL 

The Model-ID contains a value that uniquely Identifies one 
model from another. Different models, however, may share an 
Identical ModeHD if they handle similar data. 

The ModcMD format may contain OOH in one or more places 
to provide an extended data field. The following are examples 
of valid Model-IDs, esch representing a unique modet : 

OIH 

02H 

03H 

OCR OIH 

OOH. 02H 

OOH, OOH OIH 

CMD 

The Command -ID indicates the function of an exclusive 
message. The Command-ID lormat may contain OOH In one or 
more places to provide an extended data field. The following 
are examples of valid Command-IDs, each representing a unique 
function : 

OIH 

02H 
03H 

OOH, OKI 
OOH, 02H 
OOH, OOH, 01 II 

i Main data : BODY 

This field contains a message to be exchanged across an 
interface. The exact date size and contents will vary with the 
Model-ID and Command-ID. 



* Command-ID 



lip Address-mapped Data Transfer j 



Address mapping :!s -, a -Hcchnkjue -for. -transferring messages 
conforming to the data formal given In Section 1. It assigns 
a series of memory-resident records-waveform and lone data, 
switch status, and parameters, for exampie-to specific locations 
in a machlne<iependetii address space, thereby allowing t><rs t 
to data residing at the address a message specifies. 

Address -mapped data transfer Is therefore independent of 
models and data categories. This technique allows use of two 
different transfer procedures: one-way transfer and handshake 
transfer. 



» One way transfer procedure (See Section 3 for details.) 

This procedure is suited for the transfer of a small amount of 
dala. It sends out an exclusive message completely independent 
of a receiving device status. 



Connection Diagram 

Device (A) 



Device (B) 



MCtOUt 

MO 1 IN 



Connection at point 2 is essential for 

..procedures.. .{See Section .3.) ■ - : .-.■ ... . 



" Request data * 



# Handshake-transfer procedure (See Section 4 for details.) 

This procedure initiates a predetermined transfer sequence 
(handshaking) across the interface before data transfer takes 
place. Handshaking ensures that reliability and transfer speed 
are high enough to handle a large amount of data. 



Connection Diagram 

Device (A) 



Device (B). 



moi our 
mo n 




MSS OUT 




* 1 



Connection at points I and 2 is essential 

Notes on the above two procedures 

♦ There are separata Command -IDs for different transfer 

procedures. 
•Devices A and B cannot exchange data unless they use the 

same transfer procedure, share Identical Device-ID and Model ■' 

ID. and are ready for communication. 



^Oneway Transfer Procedure" 



This procedure sends out data all the way until it stops and 
is used when the messages are so short thai answerbacks need 
not be checked. 

For long messages, however, the receiving device must acquire 
each message in time with the transfer sequence, which inserts 
Intervals of at least 20 milliseconds in between. 



Message 


Command ID 


Request data 1 
Data set 1 


Rat (ii h) 

OTI 02H) 



Types of Messases 



# Request data #1 i RQ1 (11H) 

This message is sent out when there is a need to acquire data 
from a device at the other end of the interface. It contains data 
for the address and size that specify designation and length, 
respectively, of data required. 

On receiving an RQi message, the remote device' eheclcs its 
memory for the data address and sire that satisfy (he request 

If it finds them and Is ready for communication, the device will 
transmit a "Data set l (DTI)" message, which contains the 
requested data. Otherwise, the device will send out nothing. 



Byte 


Description 


POM 


Exclusive status 


41H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Modet ID 


!tH 


Command ID 


B«H 


Address MSB 


! 


LSB 


BSH 


Size MSB 




LSB 


sum 


Chack aum 


F7H 


End of exclusive 



139 



Roland Exclusive Messages 



= Data set 1 



♦ The size of the requested data docs not indicate the number 
of bytes that will make up a DTI message, but represents 
the address fields where the requested data resides. 

*Some models are subject to limitations in data format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the interface. 

♦The same number of bytes comprises address and size data, 
which, however, vary with the Model-ID. 

*The error checking process uses a checksum that provides 
a hit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum Bre summed. 

DTI (12H) 

This message corresponds to the actual data transfer process. 
.Because every byte. in .the. data .Is -assigned .a .unique.. address, . 
a DTI message can convey the starting address of one or 
more data as well as a series of data formatted in an address- 
dependent order. 

The MIDI standards Inhibit non-real lime messages from 
interrupting an exclusive one. This fact is inconvenient for the 
devices that support a "soft-through" mechanism. To maintain 
compatibility with such devices, Roland has limited the DT! to 
256 bytes so that an excessively Ion* message is sent out in 
separate segments. 



Byte 


Description 


FOH 


Exclusive 


41 H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Mode! ID 


I2H 


Command ID 


aaH 


Addrass MSB 


! 


L'sa 


ddH 


Da 


a -. -■ -' 


sum 


Ch 


»ck sum 


F7H 


End of exclusive 



*A DTI message is capable of providing only the valid data 
among those specified by an RQl message. 

♦Some models arc subject to limitations In data format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into, predetermined 
address fields before H is exchanged across the interface. 

♦The number of bytes comprising address data varies from 
one Model-ID to another. 

♦The error chocking process uses a checksum that provides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 



: Example of Message Transactions 

• Device A sending data to Device B 
Transfer of a DTI message is alf lhal takes place. 



[Device (A)] 

[Data set »] - ■■■»- 

♦ Mora than 20m see time internal 

[Data set 1} . ' > — 



Devica (B) 



• Device B requesting data from Device A 
Device B sends an RQl message to Device A. Checking the 
message Device A sends a DTI message back to Device B. 



j Devica (A)| 



Devica (B) 



[Data set l] ■*■ • • ■ ■ 

[Data set t] * » • 

♦ More than 20m sec time internal. 

[Deta set 1] ■ ; — »*- 

[Data set I] ' i ! fc - 1 



-(Request data] 



Handshake-Transfer Procedure 



Handshaking is an interactive process where two devices 
exchange error checking signals before a message transaction 
takes place, thereby Increasing data reliability. Unlike one-way 
transfer that inserts a pause between message transactions, 
handshake transfer allows much speedier transactions because 
data transfer suns once the receiving device returns a ready 
signal 

When it comes to handling large amounts of data-sampler 
waveforms and synthesiser tones over the entire range, for 
example-across a MIDI interface, handshaking transfer is more 
efficient than one-way transfer. 



Types of Messages 



Messes' 


Commend ID 


Want to send data 


WSD <40H) 


Request data 


RQD <41H) 


Date est 


DAT (42H) 


Acknowledge 


ACK (43H) 


End of data 


EOD C45H) 


Communication error. 


ERR (4EH) 


Rejection 


RJC (4FH) 



sWant to send data: WSD (40H) 

This message is sent out when data must be sent to a device 
at the other end of the interface. It contains data for the 
address and size that specify designation and length, 
respectively, of the data to be sent. 

On receiving a WSD message, the remote device checks Its 
memory for the specified data address and size which will 
satisfy the request. If it finds them and is ready for 
communication, the device will return an "Acknowledge 
<ACK)" message. 



[Data set 13 



Byta 


Description 


FOH 


Exclusive status 


41H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDl 


Model ID 


40H 


Command ID 


aaH 


Address MSB 


! 


LSS 


saH 


Size MSB 


! 


LSB 


sum 


Check sum 


F7H 


End of exclusive 



Otherwise, It will return a "Rejection (RJC)" message. 

♦The aire of the data to be sent does not indicate the number 
of bylcs that make up a "Data set (DAT)" message, but 
represents the address fields where the data should reside. 

♦Some models are subject to limitations In data format -used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided Into predetermined 
address fields before It is exchanged across the interface. 

♦The same number of bytes comprises address and size data, 
which, however, vary with the ModcMD. 

♦The error checking process uses a checksum that provides 
a bit pattern where the toast significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 



140 



Roland Exclusive Messages 



it Request data 



RQD {41 H) 

This message is sent out when there is a need to acquire data 
(nam a device at the other end of the interface. It contains data 
for the address and size that specify designation and length, 
respectively, of data required. 

On receiving an RQD message, the remote device checks Its 
memory for the data address and size which satisfy the request 
if it finds them and is ready for communication, the device wlii 
transmit a "Data set (DAT)" message, which contains the 
requested data. Otherwise, it will return a "Rejection (RJO* 
message. 



* Acknowledge : ACK (43H) 



Byta 


Description 


FOH 


Exclusive status 


41 H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


41H 


Command ID 


aaH 


Address MSB 


! 


lie 


8SH 


Size MSB 


! 


LSB 


sum 


Check sum 


F7H 


End of exclusive 



♦The size of the requested data docs not Indicate the number 
of bytes that make up a "Data set (DAT)" message, but 
represents the address fields where the requested data 
resides. 

*Some models are subject to limitations in data format used 
for a single transaction. Requested data, for example, may 
have 8 limil In length or must be divided into predetermined 
address fields before It Is exchanged across the interface. 

*The same number of bytes comprises address and size data, 
which, however, vary with the Model-ID. 

*The error checking process uses a checksum that provides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 

• Data sat : DAT (42H) 

This message corresponds to ihe actual data transfer process. 
Because every byte in Ihe data is assigned a unique address. 
Use message can convey the starting address of one or more 
data as wet! as a scries of data formatted in an address- 
dependent order. 

Although the MIDI standards inhibit non-real time messages 
from Interrupting an exclusive one, some devices support a 
"soft-through" mechanism for such interrupts. To maintain 
compatibility with such devices, Roland has limited the DAT to 
266 bytes so that an excessively long message Is sent out in 
separate segments. 



Byte 


Description 


FOH 


Exclusive status 


41 H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


42H 


Command ID 


aaH 


Address MSB 




LSB 


ddH 


Data 


sum 


Cheek sum 


F7H 


End of exclusive 



*A DAT message is capable or providing only the valid data 
among those specified by an RQD or WSD message. 

♦Some models are subject to limitations In data format used 
for a single Iransaction. Requested. data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before It is exchanged across the Interface. 

*The number of bytes comprising address data varies from 
one mode! ID to another. 

•The error checking process uses a checksum that provides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 



This message is sent out when no error was detected on 
reception of a WSD, DAT. "End of data (EOD)",or some other 
message and a requested setup or action is complete. Unless 
it receives an ACK message, the device at the other end will 
not proceed lo the next operation- 



Byte 


Description 


FOH 


Exclusive status 


41 H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Modal ID 


43H 


Command ID 


"F7H 


End of exclusive 



#End of data 



EOD (45H) 

This message Is sent out to inform a remote device of the end 
of e message. Communication, however, wilt not come to an 
end unless the remote device returns an ACK message even 
though an EOD message was transmitted 



Byta 


Description 


FOH 


Exclusive status 


41 H 


Manufacturer ID (Roland) 


DEV 


Device 10 


MDL 


Modal ID 


45H 


Command !D 


F7H 


End of exclusive 



# Communications error: ERR (4EH) 

This message warns the remote device of a communications 
fault encountered during message transmission due, for 
example, to a checksum error. An ERR message may be 
replaced wilh a "Rejection (RJO" one, which terminates the 
current message transaction in midstream. 

When ft receives an ERR message, the sending device may 
either attempt to send out the last message a second time or 
terminate communication by sending out an RJC message. 



Byte 


Description 


FOH 


Exclusive etatus 


41H 


Manufacturer ID (Roland) . 


DEV 


Device ID 


MDL 


Model ID 


4EH 


Command 10 


F7H 


End of exclusive 



# Rejection : RJC (4FH) 

This message is sent out when there is a need lo terminate 
communication by overriding the current message. An RJC 
message wW be triggered when : 

• a WSD or RQD message has specified an illegal data address 
or size. 

• the device Is not ready for communication. 

• an liiegal number of addresses or data has been delected 

• data transfer has been terminated" by an operator:'" "" 

• a communicattans error has occurred. 

An ERR message may be sent out by a device on either sice 
of ihe interface.. Communication must be terminated 
immediately when either side triggers an ERR message 



Byte 


Description . 


FOH 


Exclusive status 


4IH 


Manufacturer ID (Rotand) 


DEV 


Device ID 


MDL 


Model ID 


4FH 


Command ID 


F7H 


End of exclusive 



141 



Roland Exclusive Messages 



: Example of Message Transactions 

• Dm transfer from davlce (A) to device (B). 
| Device (A) | 



[Want to aand data] 
-^- 

[Data sat] ■ — — 

-*■ 

{Date set] 



t£nd of data] 



Device (B) 



[Acknowledge] 
[Acknowledge] 
[Acknowledge] 

[Acknowledge] 



►Device (A)- requests and receives data from device (B), 



J Device (A)[ 
[Request data] 

[Acknowledge] 
[Acknowledga] 

[Acknowledge] 



Device (8) 



(Data sat] 
[Data set] 

[End of data] 



•Error occurs while device (A) is receiving data from 
device (B). 



t) Data transfer from device (A) to device CB], 



Device (A) 



Device (B) 



•[Data sat] 



(Acknowledge] 

(Error) x — »- 

[Communication error] 



• [Data aat] 



• {Data set] 



[Acknowledge] 



(the same data 
■*- as aoove) 



2} Device (8) rejects the data re - transmitted, and 
quits data transfer. 



Device (A) 



[Acknowledge] — — 
(Error) x -*— 

[Communication error] - 
(Quit) -+— 



j Davica (B) 

[Data sat] 
[Data set] 
[Rejection] 



3) Device (A) immediately quits data transfer. 
[Device (A)j 



[Acknowledge] 
(Error) x 
[Rejection] 



} Device (B) | 

[Data set] 

[Data set] 
(Quit) 



142 



RS-PCM Sound Module 

Model U-220 



MIDI Implementation 



Date : July 25, 1989 

Version : 1.00 



1. TRANSMITTED DATA 



■ Chanrval Vote* Mnuga 
©Control Charts* 
O Data Entry 



Second T hird 

Drill 06H mmll 

mm - MSD of (he value of (he parameter specified by RPN 

n " MSD! channel No. OH- FH <0 - IS) 0-ch.l 15 > ch.16 

Slams Second. ibM 

BnH 26H IIH 

II = LSB of the value of the parameter specified by RPN 

n » MIDI channel No. OH - FH (0 - 16) - ch.1 IS - ch.16 



OnPN lsb 

Status Second Third 

BnH 64H wH 

vv - LSII of the parameter number controlled by RPN 
re- MIDI channel No. OH-FH (0 - 16) 

OfiPN MSB 

Status Second Th|rd 

BnH 65H wH 

w ■■■* MSB of the parameter number controlled by RPN 
n - MID! channel No. OH - FH (0 - IS) 



Q-ch.1 16-ch.lB 



0-ch.l 15- ch.16 



*** WH *** 

The Control Change can employ an RPN (Registered Parameter Number), or a message 

that tan be used after being registered for MIDI. 

Using MIDI RPN. parameters can be changed by Control Change messages. 

RPN MSB and LSB specify the parameter to be controlled, while Data Entry provides 

the parameter value. 

Master Fine Tune is transmitted by RPN on U-220. 



RPN Data Entry 

MSB ...IfSp MSB LSB 

OOH 01 H mmH Mil 



Comments 



Master Fine Tune 

MSB LSB 

20 00 -SO cent 

40 00 cent 

B0 00 +50- cent 



*In 'Edll/Setup/M.Tune'. The U-220 transmits PRN MSB, RPN LSB and Data 

Entry (MSa LSB) when [ENTER] key is pressed 
*Tho message is recognized through 'Setup/M1D1/Rx Control Ch'. 



Syatam Exoluttva Muuga 

Data 



Status 

F0H 

F7H 



iIH.ddH_.eeH 



F0H : System Exclusive 

ll» ID number : 40H (65) 

dd__.ee -data :00H-7FH (0-127) 

F7H : EOX {End of Exclusive/System Common) 

*A set of various parameter is transmitted, and received using MIDI System Exclusive 
messages. 

Refer lo section 3 and 'Roland Exclusive Messages' for details. 



2. RECOGNIZED RECBVE DATA 



This message is always recognized except for ROM Play. 
■ Channal Vole* Manage 
• Not* Off 



Status 

8nH 

9nll 



kkH 
kkH 



kk-Note number 
w.». Velocity. .... .. . . 

n - MIDI channel No. 



Third 

wH 

OOH 

OH - 7FH (0 - 127) 

..ignored . . . . . 

OH - FH (0 - 15) 



0-eh.I 15- ch.16 



*Thc message is recognized through 'Patch /Part/ MIDI /Rx Ch'. 'Patch /R-Part/ 
Rx Ch*. 

*The message Is recognized through 'Patch /Part /MIDI /Key Range'. 



• Now On 

Status 
9nH 



kkH 



kk » Note number 

w - Velocity 

n ■ MIDI channel No. 



Third 
wH 

OH - 7FH (0 - 127) 
1H-7FH (1-127) 
OH - FH (0 - 15) 



0-ch.l 15 -ch.16 



*The message Is recognized through "Patch/ Part/ M ID! /Rx Ch". "Patch /R.Part/ 

Rx Ch'. 
*Note number Is recognized through 'Patch / Part / MIDI / Key Range'. 
*Noie velocity Is recognized through 'Patch /Part/ MIDI /V.Thresh". 



• Poiyphonlo Kay Prauura 



AnH 



kkH 



Kk-Nole number 
W-0H-7FH (0-127) 
n ■ MIDI channel No. 



Third 
WH 

0H-7FII (0-127) 

oh-fh (0 - 15) 



0-ch.l 15- ch.16 



*Thc message Is recognized through 'Patch /Part/ Ml Dl/Rx Ch'.'Patch/RPari/ 
Rx Ch'. 

• Control Chang* 
O Modulation Dapth 



Status 
BnH 



01H 



W-0H-7FH (0- 127) 
n » MID] channel No. 



Third 
WH 



OH - FH (0 - 15) 



0-ch.l lS-cn.16 



♦The message is recognized through "Patch/ Part /.MIDI/Rx Ch'. 'Patch / RPart / 
Rx Ch'. 



OVoluma 



BnH 



07H 



w - OH - 7FH (0 - 127) 
n - MIDI channel No. 



Th , ird 
wH 



OH-FH (0 - 15) 



0-ch.l 15 -ch-16 



*The message is recognized through 'Patch/Part/MIDl/Rx Ch', 'Patch /R-Part/ 

Rx Ch'. 
*The message is not recognized if Patch /Part /MIDI/ Rx Volume' is set as 'Off", 

or 'Patch /R.Part/Rx Volume* is set as 'Off. 
* The value (wH> corresponds to 'Patch /Part /Out pot /Level'. 



OPan 

Status 
BnH 



0AH 



w«0H-7FH (0-127) 

n - MIDI Channel No. 



wH 



OH-FH (0 - 16) 



0-ch.i is- ch.16 



143 



♦ The message is recognized through 'Patch/Pari/MIDI/Rx Ch\ 

♦ The message is noi recognized tf 'Patch /Part /MID!/ Rx Pan' is set as 'Off. 
♦The message Is through 'Patch /Pan /Output /Pan', but range are changed from 

7> to <7. 



)HoM1 



Siaiiaa 

BnH 



Second 
4GH 



Third 
wH 



vv - OH - 3FH (0 - 63) : Otf, 4011 - 7PH {64 - 127) : On 
n - MIDI channel Na OH - FH (0 - 165 



0-ch.l 15-ch.lB 



♦The message is recognized through 'Patch/ Part/ MIDI /Rx Ch", 'Patch / RPart / 
Rx Ch'. 

•The message is not recognized if "Patch / Part / MIDI / Rx Hold' ts set as 'Off, or 
'Patch /RPart/ Rx Hold' is set as "Off. 

O Sound Control Ptramaur 1 



Status 
BnH 



Second. IhM 

ecH wH 



ccH - OH - 5il (0 - 5), 7H - 1FH (7 - 3D, 4QH - SFH (64 - 95} 

wH » OH - 7FH (0-S27) 

n-MIDt channel Na 011-711 (0 - 15) 0-ch.l 15 -ch.16 

*The message is recognized through 'Setup/ MIDI /Rx Control Ch', "Patch /Part/ 
MiDl/Rx Ch' and 'Patch /R-Part/Rx Ch'. 

♦ Change the number through "Patch / Ctrl /Prml A3 »'. 

OData Entry 



Sisiys 
BnH 



osh 



Third 
mmH 



mm « MSB of the value of the parameter specified by RPN 

n*MIDI channel Na OH - FH (0 - IS) 0-Ch.l 16 -ch.16 



Status 
BnH 



2GH 



Third 
IIH 



Si - LSB of the value of the parameter specified by RPN 

n - MIDI channel Na OH-FH<0-!5) 0-ch.l 15 -ch.16 



ORPN LSB 

Status 
BnH 



64H 



Third 
wH 



w - LSB of the parameter number controlled by RPN 
n - MIDI channel Na OH - Fit (0 - 15) 



0-Ch.l 15 -ch.16 



ORPN MSB 

Stylus 
BnH 



Second. Thin! 

65H wH ■ 



w - MSB of the parameter number controlled by RPN 

rt - MIDI channel Na OH - FH (0 - 15) - eh.1 15 - eh. 16 

♦ Master Fine Tune and Pitch Bend Sensitivity are controllable by RPN on U-220. 



MSB UTO MSB LSI! Cpmmepls , . , 

00H O0H mmH IIH Pitch Bend Sensitivity 



MSB 'LSD 

00 ignore cent 

OC Ignore 1200 cant 

QD Ignore 

7F ignore 

♦ The message is recognize through 'Patch/ Part /Rx Ch", 'Patch/ RPart /Rx Ch'. 



RPN 




Data Entry 




MSR 


LSB 


MSB l-SF) 


Comments 


0011 


01H 


wH uuH 


Master Fine Tune 

MSB LSB 

20 00 -50 cent 



40 00 cenl 

60 00 +50 cent 

♦ The message Is recognized through 'Setup/MIDl/Rx Control Ch". 



Ch»ns» 



CnH 



5econd 
PPH 



PP- Program Change number 0H-7FH (0-127) 
n-MIDI channel Na OH -FH (0 - 15) 



0-ch.I 16 -ch.16 



♦ The Program Change Is not recognized except for PLAY mode. 

Obi th* earn of Patch Ch»ng« 

pp -OH -SFH (0-B3) -Palch * P-01 - P - 64 

The Patch Change is recognized through 'Setup/ MIDI/ Rx Control Ch'. 

The Patch Change Is not recognized if "Setup/ MIDI /Rx Patch Change' is set as ' 

Off, or "Rx Patch Change' is set as 'Map' and the converted value is set as 'Off. 

Oln th» caw of Timbre Chang* 

PP-0H-7FH {0-127} ..Timbre # T-001 - T-128 

The Timbre Change is recognized through "Patch/Part/MIDl/Rx Ch'. 

The Timbre Change is not recognized if 'Setup /MIDI/ Rx Timbre Change' is set as 

'Off, orTfic Timbre Change' is set as 'Map' and the converted value is set as "Off. 

Obi *• eat* of Rhythm -Smt Crumoa 

pp - OH - 3H (0 - 3) -Rhythm - Set # R - 1 - R-4 

The Rhythm -Set Change is recognized through 'Patch/ RPart/ Rx Ch'. 
The Rhythm -Set Change Is not recognized if 'Setup /MIDI/ Rx Rhythm Change' is 
set as 'Off, or the 'Rx Rhythm change' is set as 'Map' and the converted value is 
set as*Off. 



IChanmi Prmun 



DnH 



Second. 
wH 



w-OH-TFH (0- 127) 

n - MIDI channel Na OH - FH (0 - 15} - ch.1 15 - ch.16 

♦The message is recognized through 'Patch /Part /MIDI/ Rx Ch', 'Patch /RPart/ 
RX Ch". 



IPheh Band Ch M8 , 



EnH 



Second 
IIH 



Thirtl 
mmH 



II - Lower Pitch Bender value 00H - 7FH (0 - 127) 
mm - Upper Pitch Bender value 00H - 7FH (0 - 127) 
n-MIDI channel Na 0H-FII (0 - IB) 



0-ch.l 15 -ch.16 



♦The message Is recognized through "Patch/ Part / MIDI /Rx Ch", 'Patch /RPart/ 

Rx a*. 



MChanmi Mods Mnugi 

• Rtwt AH Corrtrofl*r» 

Status jteqd, dm 

BnH 78H 00H 

n-MTD! channel Na 0H-FH (0 - 15) 0-ch.l 13-ch.lfl 

♦ When Reset Ail Controllers Is recognized, each of the controllers is sot as follows. 

Controller Value 



ModofaUon 

HoUl 

Pitch Bend Change 

Channel Pressure 



Polyphonic Key Pressure (min) 



(min) 
(off) 

+ /- (center) 
(min) 



]44 



♦ The message is recognize through 'Patch /Part/ MIDI /Rx Ch', 'Patch /RPart/Rx 
Ch". 



• All Nola. Off 

Siaiiaa 

BnH 7DH 

n « MID! channel Na 



Thin} 
OOH 



OH - Ft! (0 ~ 15) 



0-ch.t 15-ch.lB 



♦When AH Notes Off is recognized, ait the notes which have been turned on by MIDI 

Nate On message are turned oft. 
*The message, .is recognized, ihrough '.Patch / Part / MID! /Rx..Ch','Palch/RPart/ 

Rx Ch'. 



0-ch.l 15-eh.ie 



• Omni Off 






Status Second 
BnH 7CH 


Third 
OOH 




n - MIDI channel No. 


MI-FH (0 - 


15) 



♦ Recognized as AH Notes Off only. 

* The U - 220 stays in Mode 3 (Omni Off, Poly). 



• Omni On 






Status Second 


Third 




BnH 7DH ■ 


OOH 




n - MIDI channel Na 


OH-FH {0 - 


15) 



= ch.l I5»ch.l6 



♦ Recognized as All Notes Off only, 

• The U- 220 stays in Mode 3 (Omni Off. Poly). 



Status 
BnH 



Ssssnd. Jim 

7EH mmH 



mm -Mono channel range ignore 

n - MIDI channel No. OH - FH (0 - IS) 

* Recognized as All Notes Of r only. 

* The U - 220 -stays in Mode 3 (Omni Off. Poly). 



0-eh.J iS-caia 



• Poly 

Siatus 

BnH 7FH 

n - MID! channel Na 



Third 
OOH 

OH - FH (0 - 15) 



0-ch.l 15-eh.ie 



* Recognized as All Notes Off only. 

* The U - 220 stays in Mode 3 (Omni Off. Poly). 



■ Systam Haahima M*«ns» 

• Activa Sanaing 

Status 
FEH 

♦Once receiving this message, the V- 220 expects to accept status or data in sequence, 
at last within 300 msec intervals. If the unit fails to receive a message 300 msec 
after previous one, it Judges there is a problem somewhere in MIDI path, muting the 
current sound and setting each of controllers -as below, then stopping 300 msec - 
interval monitoring of incoming signal 

■ Sy«am Exclualva Mauaga 



Slates 



Data 



F0H 

F7H 



ItH-ddli, eeH 



F0H : System Exclusive 

li - ID number : 4011 (66) 

dtt_ee-data :00H-7FII (0-127) 

F7H : EOX (End of Exclusive /System Common) 



*A sci of various parameter is transmitted, and received using MIDI System Exclusive 
messages. 

♦ The message is not recognized if 'Setup/ MIDI /fix SysEx' is set as 'Off. 

♦ Recognized through 'Setup/ MIDI /Device ID'. 

Refer to section 3 and 'Roland Exclusive Messages' for details. ■ 



3. EXCLUSIVE COMMUNICATIONS 



U - 220's exclusive map is roughly divided into two area. Bulk - Dump area and 

...IndiviJual.-oarameter/'.area. ■■ -■ ■ • ■. 

Bulk -Dump area is suited for dumping a set of parameters owing to its hi - speedness, 
while Individual parameter area is sulled for controlling each parameter. 

■ Davtoa to 

The message is transmitted or received through 'Setup/ MIDI /Device ID'. 

■ Modal ID 

Model - ID # In the Exclusive message : 2BH 

■ Bufk Dump 

When U - 220 is transmitter. Panel operation or MIDI Exclusive Data Requestl. 
U - 220's Bulk - Dump follows the rules shown below. 

1. One byte data read from U- 220's internal memory is transfarcd after it is divided 
into two (upper 4 bits and tower 4 bits). 

For example, OABh win be divided into OBh and OAh (lower first).' 

2. In the case of sending ) packet of Exclusive message. fM bytes of Internal data 
will be transfared in 128 bytes. 

However, (he last 1 packet to be sen! may get fractional according to ihe amount 
of data to be road from Internal memory. 

Therefore, contents of Bulk -Dump can easily be known from ihe structure of Internal 
memory's data. 

[Tablet] - [Tables] are maps of internal memory, not maps of MIDI. Transformation 

must be considered for address and data. 

The first address to be read for Bulk - Dump is noted 0. 

If certain bits of 1 byte data have meanings individually, their bit numbers are also 

noted Bits that are not specified are to be recognized as "-" (reserved). 

Basical value for data noted as "reserved" is 0. 

As for values and display, refer io the explanation of individual parameter ■ area; 
Explanation Is common between the -two^Howover, some of the - Sot up parameters 
cannot be controlled individually. Those kinds are explained here, 

■ Transmit 

Exclusive messages are transmitted under following conditions. 

1) Edit Pammatar Dump 

Value of parameter currently being edited can be transmitted by pressing [ENTER]. 
However, parameters that are not supported by Exclusive message will not be 
transmitted. 



2) Buflt Dump Mod* 

Transmit as follows. 
Data/Bulk/ Temp ; 

Data/Bulk/Memory 
3> Raoooniza RQ1 



Parameters 



Ail, Patch, Timbre [1]„[6]. Timbre All, 
Rhythm Setup 

Alt. Setup, Patch, Timbre. Rhythm Setup 



When receivina RQl (refer to Roland Exclusive Format), parameter corresponding to 
the address is transmitted. RQl for certain parameters is ignored. 
U- 220 can not send discontinuous blocks by one RQl. 



145 



■ fUcosrnUrad H»e»lv« Data 

This messajtc is always recognized except for ROM Play. 

■ Ptramttar Addraaa Map 
address DTI RQ1 <* -available) 

[ Bulk Dump Area ] 

00 00 00 * « Setup Parascter 

OF 
00 06 00 • « Patch Teap 

07 IF 
00 10 00 » * TlnoretD Tap 

10 3F 
00 11 00 * * TisBre[2] Teip 

11 3F 
00 12 00 * * Tisbre[3) Teap 

12 3F 
00 13 00 * 1 Tl»breU3 Tap 

13 3F 
OS 14 00 ♦ * TIabre[5] Teap 

14 3F 
00 IS 00 » ♦ Tlabre[6] Teap 

15 3F 
00 20 00 * * Rhytha Setup Tettp 

2C IF 



02 00 00 • ♦ Tlabre 

: T-001...128 

3F 7F 

03 00 00 ♦ ♦ Patch 

: P-01...P-S4 

4F 7F 

OS 00 00 * • Rhytha Setup 
: R-1...R-4 

30 IF 

07 00 00 * « Patch Hap 
; Uapl...uapl 

07 7F 

07 08 00 < » Timbre tap 
: Uapl...tap4 

OF 7F 

07 10 00 ♦ t Rbylh* Bap 
• : Mapl...tap4 

17 7F 

07 IB 00 ♦ t R. Inst Kap 
; Hapl...Map4 

IF 7F 



00 00 10H Bytes [Table lj 
(Size o( Exclusive Address Hap) 



00 01 20H Bytes [Table 2] 



00 00 40H Bytes [Table 3] 



00 00 40 K Bytes 



00 00 40H Bytes 



00 00 40H Bytes 



00 00 40H Bytes 



00 00 40H Bytes 



00 OC 20H Bytes [Table 43 



00 40 OOH Bytes [Table 5] 



00 50 00B Bytes [Table 8] 



00 31 OOH Bytes [Table 7] 



00 08 DOH Bytes [Table I] 



00 08 OOH Bytes 



00 08 OOH Bytes 



00 08 OOH Bytes 



[ Individual Parameter Control Area ] 
Temporary Area : Patch, Timbre, Rhythm Setup. 
10 OS 00 * * Setup Parameter 

02 
10 04 00 » * Patch Cowkhi 

25 
- 10' 04 •60 -."*■ -if •:•: fttdWntthr-fvt 

66 
ID 05 00 I • Patch Parti 

OC 
10 OS 10 * * Patch Part2 

1C 



10 OS SO • * Patch Parts 

£C 
W 10 OS » * Tlabre [1] 

31 
10 11 OS * * Tlabre [2] 

31 

10 IS 00 • * TiBbrafB] 

31 

11 00 OS « » Rhytha Setup Coison 

13 
11 23 00 * » Khytta Setup Inst-Bl 

13 
II 24 00 « * Htytha Setup lnst*C2 

13 



11 63 00 # * Rhytha Setup lnst-D7 
13 

[Table 1} Setup Parameter 

tleaory Offset 

Address Description 



00 00 03K Bytes [Table 9] 



00 00 29H Bytes [Table 10] 



\00 WOTH Bytes '{Table-Ill- 



00 00 0DH Bytes [Table 12} 



00 00 OOH Bytes 



DO 00 DM Bytes 



00 00 32H Bytes {Table 13] 



oo oo 32H Bytes 



00 00 3211 Bytes 



00 00 IAD Bytes [Table 14] 



00 00 141! Bytes [Tabic 153 



00 00 14R Bytes 



00 00 14H Bytes 



00 009 


bl t E-F 


bit » 




HtC 




bit »-* 




bit 0-7 




00 029 


bit 0-F 


OO 04B 


bit S-F 


bit M 





Chorus St (0...1 : Off.. .On) 

Reverts* (0...1 : Off... On) 

1X0 Contrast (0...I5 : 0...IS) 

taster Tune (0...255 : 42T.4...4SZ.I 



Bx Ctrl Channel (0...I6 : l... 16. Off) 



00 06R bit F 



146 



bll C-E 
bit B 
bit S-A 
bit 7 
bl t 4-6 

bit a 

bit' 0-2 



a. Inst Assign (0...5 : Mapl...Kap4. Dlr, Off) 

Miytlti Change (B...5 : Mapi...Map4, Dlr, Off) 

Tlibre Change (0...S : Napl...Uap4, Blr, Off) 

Patch Change (0...5 : MbpI. . . Uatvi, Dlr, Off) 
Total sbD - 08H (Size on Memory) 



[Table 23 Patch Temporary 



Keaory Offset 






address 


Descriptli 


in 


00 00H 


Wt 0-7 


Hue 


DO OBK 






00 OCH 


bit B-F 


Chorus Depth ■ 


bit 6-A 




Chorus Level 


bit S 




- 


bit 0-4 




Chorus Rate 


00 OEH 


bit D-F 


Chorus Type 


bit 7-C 




Chorus FeedfcacK 


bit 6 




- 


bit 0-5 




Rev/Delay Tise 


DO 10H 


bit B-F 


Delay Feedback 


bit 5-A 




- 


bit 0-4 




Chorus Delay Tlie 


00 12H 


Wt f 


Chorus Out Mode 


bit C-E 




8ev /Delay Type 


bit B 




- 


bit 6-A 




Bev Pre Delay Tine 


bit 5 




. 


bit 0-4 




Sev/Delay Level 


00 24K 


bit B-F 


. 


bit 8-C 




Peraieterl 


bit 7 




. 


bit 0-6 




Ctrl « 1 


00 IBS) 


bit D-F 


. 


bit 8-C 




Para*eter2 


bit 7 




- 


bit 0-6 




Ctrl s 2 


00 18H 


bit D-F 


. 


bit B-C 




Para»eter3 


bit 7 




- 


bit 0-6 




Ctrl * 3 


00 1AH 


bit F 


. 


bit E 




Bx Vol UK 


bit D 




Si Bold 


bit 8-C 




Ehythi Part Channel 


bit 7 




- 


bit 5-6 




Rhytha Setup tt 


bit 0-4 




Rnytha Part Voice Reserve 


00 1CH 


bit l-F 


. 


bit 7 




Ehytb* Part Level Boost S» 


bit 0-6 




Ehytha Part Uval 



Heaorjr Offset 

address 

00 1EH 

bit 8-C 
bit T 

bit 0-6 

00 20B 
bit 5-B 
bit 0-4 

JWJM ■ 

bit !-E 

bit 7 
bit 0-6 

00 24H 
bll S-E 
bit 1-7 . 

bit 

Total size - 50H 



Description 



bit D-F 



bll C-F 



bit F 



bit F 



Output Assgin 
Voice Reserve 
Ki Yolune 
Tlsbre t 

Panning 

Pars Level 

Receive Channel faff, 1-18) 

vSx-Pats -•- ■■ ■■ 

Key Range Bl 
Rx Hold 
Key Bange Low 



Valo Threshold 
Velo Level 



[Table 33 Timbrel. 2, 3. 4. 5, 6 Temporary 
Description 



Offset 

address 



00 OOB 

0D QBH 

00 0CK 
bit 7-B 
bit 0-6 

CD OEfl 
bit 6-E 
bit 4-7 
bit 0-3 

00 10H 
bit 8-8 
bit 4-7 

bit 0-3 

00 12H 
bit 8-D 
bit 7 

bit 0-5 

00 HH 
bit 9-D 
bit 5-B 

bit 0-4 

00 JIB 
bit A-D 
bit 5-9 
bit 0-4 

00 I IB 
bit J-B 
Wt 4-7 

bit 0-3 

00 IAB 
bit 8-B 
bit 6-7 

bit 0-5 

00 1CH 
bit 8-B 
bit 4-7 
bit 0-3 

00 1EB 

Total size - 20H 



bit 0-7 



bit C-F 



bit F 



bit C-F 



bit E-F 



bit E-F 



bit E-F 



bit C-F 



bit C-F 



bit C-F 



bit 0-F 



Naie 



Detune Depth 
Tone Media 
Tone * 



Tlibre Lave) 

Level Channel Press Sens 

Level Velo Sens 

Env Release 
Env Sustain 
Env Decay 
Env Attack 



Pilch Shift Coarse 
Pitch Shift Fine 



Auto Bend Depth 
Bend Range Upper 
Bend Range Loner 



Auto Bend Sate 
Pitch Cn. Press Sens 
Pitch Poly Press 5ens 

Vlb Depth 
Vlb Delay 
Vlb Modulation Depth 



VI b lavefon 

Vlb Rata 

Vlb Poly Press Sens 
Vlb Ch Press Sens 

Vlb Bise Tl»e 



147 



[Table 4] Rhythm Setup Temporary 



[Table 8] Patch Map, Timbre Map, Rhythm Map, Rlnst Map 



Offset 






address 


Description 




00 0011 


bit 0-7 


toe 


00 SB1I 






00 OCH 


sit a-F 


- 


bit 5-8 




Bend Range I'pper 


bit 0-4 




Bend Range Lover 




Inst "ST - 


■or 



address 


Description 




SO 0EH 


bit C-F 


Detune Depth 


bit 7-E 




Tone Media 


bit 0-6 




Tone S 


00 10H 


bit C-F 


Auto Bend Sate 


bit 7-B 




Pitch Offset Coarse 


bit 0-6 




Pitch Offset Fine 


00 IZII 


bit F 


Env Uode 


bit A-£ 




Pitch Channnel Press Sens 


bit 5-9 




Pitch Poly Press Sens 


bit 0-4 




Auto Bend Depth 


00 UK 


bit C-F 


Env Release 


bit 8-B 




Env Decay 


bit 4-7 




Env Attack 


bit 0-3 


leva! Velo Sens 




SO 1EH 


bit F 


. 


bit 8-E 




Mute Inst 


bit 7 




- 


bit 0-5 




Source Key 


oo m 


bit F 


- 


bit B-E 




Pitch Randoilze 


bit B-A 




Out Asjn 


bit 4-8 




Out level 


bit 0-3 




Panning 


Total size » 


3IOH 





[Table 5] Timbre 1-128 



Offset 
address 



Description 



Sane as Teaporary Tiabre Area 
Total slzo • 1000H 

[Table 6] Patch 1 - 64 
Description 



Offset 
address 



Saw as tcsporary Patch Area 
Total size « 14008 

[Table 73 Rhythm Setup 1 - 4 



Offset 
address 



Description 



Saae as Rhytha Setup Area 
Total size - CMOI1 



Offset 










address 


Description 








00 DDK 


bit a-7 


Patch tepl (0.. 


.65 : 


1...84.Dlr,0fD 


00 7FH 










00 80H 


bit 0-7 


Patch «ap2 






01 FFH 




Patch Iiap4 






02 00H 


bit 0-7 


Tlibre llapl (0. 


..129 


: 1... 128, 01 r. Off) 


02 7FH 










02 BOH 


bit 0-7 


Tilbre Ubp2 






03 FFH 




Tiibre Hap4 . 






04 OOH 


bit 0-7 


Rhyths Hapl (0. 


..5 : 


I... 4, D Jr. Off) 


04 7FH 










04 BOB 


bit 0-7 


Rhytti»Bap2 






05 FFH 




Rhythi Map! 






05 00K 


bit 0-7 


R. Inst Hapl (0. 


,.65 : 


B1...DT, Dtr.Off) 


06 7FH 










06 80R 


bit 0-7 


R. Inst Uap2 






07 FFH 




R. Inst Wap4 






.Tola! <=for *■ 


BOOH 









[Table 9] Setup Parameter (Individual) 

address DTI Rai 

Itt 00 00 t • Chorus Sw 

(0...1 : Off... On) 

01 * t Reverb Sw 

(0...1 : Off... On) 

02 * ♦LCD Contrast 

(0...1S : 0...15) 

Total size - OO OO 03H 



148 



[Table 10] Patch Common Parameter (Individual) 

address DTI HOI 

IS 94 OS * • Patch Kaitel toner 4bit 
Bl ♦ ♦ Patch Kaael Upper 4blt 

IT * * Patch Ka«el2 Upper Ibtt 

18 * ♦ Chorus Type 

(0...4 : Chorus!, Choras2, FB-Cborus, Planter. 
Shard Delay) 

19 » 4 Chorus Out Mode (0. . . ! : Pre Rev, Post Rev) 
1A ♦. ♦.Chorus Level .«... 31.: JJ... 3D. 

IB * * Chorus Delay ft... 31 : 0...3U 
1C * » Chorus Bate (0...31 : 0...31) 
ID 4 » Chorus Depth (0...31 : 0...31) 
IE * ♦ Chorus Feedback (i. ..63 : -31... +31) 
IF * * Reverb Type 

(0...T : RMil.ltooa2,Roo»3,HallUai!2,Cate,Delay, 
CrossDelay) 
20.* ♦ Reverb Tlae «... 31 : 0... 31) 

21 » 4 Reverb Level (0...31 : 0...31) 

22 « * Reverb Delay Feedback (0...31 : 0...3I) 

23 » ♦ Parasl * {0...63 ; 00. . . OS, 07.. . 31, 64. . . BS, Off) 

24 * ♦ Paraal Paraa 

ft... IB : Tlabre Level, Env Attack, Env Decay, 
Env Sustain, Env Release. A. Bend Depth, A, Bend Rate, 
Detune Depth, Vib Rate, VSb Kavefore. Vlb Depth, 
Ylb Delay, Vlb Rise Tl«e, Vlb Mod Depth, Chrs Level, 
Chrs Rate, Chrs Feedback, Rev Level, Dlay Feedback) 

25 t * Parai2 * (0. . . 63 : 00. . . 05, J. . . 31. 84. . . 85, Of 

26 * « Para»2 Parai (Saw as Parail) 

27 * * Paraa3 * (0...63 : 00... 05. 07... 31. 64... S3, Off) 

28 ♦ 4 Paras3 Paras (Saae as Paraal) 

Total size - OO 00 29H 



[Table 13] Timbre Parameter [1] (Individual) 

address DTI SQ) 

ID 10 00 * • Patch Nasei Lower 4bit 

01 * » Patch Rase) Upper 4b! t 

IT • » Patch Ha»e!2 Upper 4bit 

IB » » Tone Media (0... 31 : t. 61... 3!) 

19 » * Tone Jhnoer (0. . . 127 : 000. . . 127) 
1A * ♦ TlBbre Level {0...I27 : 0...127) 
IB » * Velocity Sens (1...1S : -7... +7) 

,■ , ,.IC. ,.».,, .t^CisannBl .toss -Sens- (I 15 :--7.~-*7) 

ID * * Env Attack Rate (1...15 : -7.. .+7) 

IE * » Env Decay Bate (1...I5 : -7... +7) 

IF * » Env Sustain Level {I... 15 ; -7.. .+7) 

20 * » Env Release Rate (I... 15 : -7, . . +7) 

21 » t Pitch Shift Coarse ft... 56 : -24... +24) 

22 4 t Pitch Shift Fine (14... 114 : -50... +50) 

23 • • Bend Range Lowr (0 — IS : -36, -24, -12... 0) 

24 * t Bend Range Upper (0...I2 : 00.. .12) 

26 ♦ * Channel After Sens (0...27 : -36,-24,-12.... +12) 

26 * * Poly After Sens ft... 2? : -36. -24, -12.... +12) 

27 ♦ ♦ Auto Bend Depth (0...27 : -36, -24, -12.... +12) 

28 t • Auto Bend Rate (0...15 : 0...15) 

29 t • Detune Depth (0...15 : 0...16) 
2A » * Rate (0...63 : 0...63) 

2B * * Waveform <0.,,8 : Tri. Sine. Square, SawUp, SatDm, Sandal, ,.4) 

2C * * Depth (0...15 : 0...15) 

2D * * Delay (0...15 : 0...I5) 

2E » 4 Rise Tlse (0...15 : 0...15) 

2F » * Modulation Depth CO... 15 : 0,,.1S) 

30 • t Qi After Sens «.'..15 : 0...15) 

31 * » Poly After Sens (0... 15. : D... IS) 

Total size » OO 00 S2H 



[Table 11] Patch Rhythm Part Parameter (Individual) 



10 04 so • 

Bl * 

62 * 

63 * 

U I 

65 » 

66 ' 



Rhytha Setup 6 {0...3 : 1...J) 
Voice Reserve ft... 30 : D...30) 
Receive Channel (0...16 : 01...16.0ff> 
Level (0...127 : 0...127) 
Level Boost St (0...1 : Off. On) 
8x Voluie <0.,,1 ; Off, On) 
Rx Hold (0...1 ; Off, On) 



Total size - OO 00 07H 



[Table 14] Rhythm Setup Parameter (individual) 

address DTI RQ1 

5100 00 * ♦ Setup Naael Lower 4blt 
01 * * Setup Kaael Upper 4blt 

IT » » Setup Nai>el2 Upper 4hlt 

18 * 4 Bender Range Lower ft... 15 : 36,24, 12.. .0) 

19 « • Bender Range Upper {0...12 : 0...12) 

Total size - 00 00 JAH 



[Table 12] Patch Parti Parameter (Individual) 

10 QS 00 * » Tlabre Ruiber {0...J2T : T-001...12B) 

01 * » Voice Reserve (0, .,31 : 0...31] 

02 4 t Becclva Channel (0...16 : l...16,0ff) 

03 4 t Key Range Low (0...127 : C-1...C9) 

04 4 ♦ fcy Range HI (0...J27 : C-1...0S) 

05 4 4 Velo Level (0...1: Above. Below) 

06 4 * Velo Threshold (1... 127 : 1.,. 127) 

07 4 * Output Assign {0...4 : Pry.Rev,Cho.Dlrl.'D!r2) 
0B 4 . Level {0...J27 : 0...127) 

09 4 4 pan {0...15 : 7>. . >c. . <7. Rnd) 

OA 4 t it Voluie (0...I : Off, On) 

OB 4 4 gx Pan (0...I : Off.On) 

K i 4 is Hold (S.,,1 : Off.On) 

Tola! size « OO 00 ODH 



[Table 15] Rhythm Setup Parameter Inst = B1 (individual) 



11 23 00 
0! 
02 
03 
04 
05 
05 
07 
08 
09 
OA 
OB 
DC 
0D 
0E 
OF 
10 
II 
12 
13 



Tone Media (0...31 ; 1.01... 31) 

Tone Umber (0...127 : 0...527) 

Source Key (0...127 : C-I...G9) 

ttute Inst (34.. .88 : 0ff.Bl...D7) 

Inst Level (0...31 : 0...31) 

Velocity Sens (0...15 : 0...15) 

Env Mode (0... 1 : Sustain No Sustain) 

Env Attack Rate (1...1S ; -7... +7) 

Env Decay tote (S...15 j -7.. .+7) 

Env Release Bate (1...15 : -7...+T) 

Pitch Shift Coarse (0...27 : -36. -24, -12....+! 2) 

Pitch Shift fine (14... 114 : -50... +50) 

Chanel After Sens ft... 27 : -36, -24. -12. . . . +12) 

Pory After Sens (0...27 : -36, -24. -12.... +12) 

Randoe ft. ..15 : 00... 15) 

Auto Bend Depth (0. . . 27 ; -36, -24. -12. . . . + 12) 

Auto Bend Rate ft,.. 15 : 0...15) 

Detune Depth (0...15 : 0...16) 

Output Assign (0...3 : Dry,Rev,Cho,Dlr)) 

Pan .(0...15 : 7>..x...<7,Rnd) 



Total size - 00 OO ]4H 



149 



[ Bulk Dump Area 3 
address Black 



00-06-00 
00-10-00 



02-00-00* 
03-00-00 
05-00-00' 



Setup Heaory 



Patch leap 
Tiibrc Tesp 



Rhytha Setup Teap! 



Patch 



Rhytlm Setup 



iiap 



-I..,. 



ITIibre [!) i 
r — „..__^ 

ITIibre [2] I 



ITIabre [33 



I Timbre [4] 



ITIibre [5J I 



ITIsbre {6) I 



I Patch Map 



itlnbre iiap I 



IBiytlw Slap 



IR. Inst Map 



I Table 1 



ITable I I 
ITable 3 I 



iTable 4 I 



(Table 5 



ITable J I 



ITable 7 



ITable 8 I 



[ Individual Parameter Control Area ] 

lB-00-00'-™—"-— ■"■" 



I Setup 



lo-M-oat 

IPatch Canon 

IQ-04-S0+ 

IPatch Khythi 



IPatch 



lTlibre&J 60bytesl 



11-00-00+- 



IBhythi Sewp Coi 



I 

11-23-00*- 



IBhy Setup iBSfBtl 



I Part 3 



(Part 4 



' •— - — -t 
IPart 5 I 

IPart 6 | 
, t—~ — — * 



ITSiber 1 I 



ITIibre 2 I 



ITIibre 3 



ITIibra 4 I 
«•■■ ---— — ..« 
ITIibre 5 I 



| . »_ 

I . ITIibre S 
I * 



llmt-Bl I 



| . t ,_+ 

I . llnsfD7 | 



ITable a 



ITable 10 

ITable I! 



IPart I | ITable 12 I 

*——-—--+ t — -— * 

IPart 2 I 



ITable 13 I 



ITable 14 I 



ITable 15 



ISO 



RS-PCM Sound Module 

Model u-220 MIDI Implementation Chart 



Date : July 25, 1989 

Version : 1.00 



Function ••• 


Transmitted 


Recognized 


Remarks 


Basic Default 
Channel Changed 


1 -16 

1 -16 


1 -16 

1 -16 


Memorized 


Default 
Mode Messages 
Altered 


Mode 3 

X 

■- t***F n!*^f*- 5ft'-3|C .--iC ■'■«¥»■ -5JC 


Mode 3 

X 




Note 

Number True Voice 


X 

********* 


0-127 
0-127 




... ti Note ON 

Velocity „, 

Note OFF 


X 

X 


O 

X 




After Key's 
Touch Ch's 


X 
X 




o 




Pitch Bender 


X 


* 1 


9 bit resolution 


0-5. 7-31, 64-95 

1 

7 
10 

64 

Control 

Change 

100, 101 

6, 38 

121 


X 

X 
X 

X 
X 

*2 (RPN#1) 

*3 

X 


* 1 (assignable) 

O 
O 

o 



*2 (RON#0, #1) 

*3 

O 


prm1, 2, 3 

Modulation 
Volume 
Panpot 
Hold 1 

RPN LSB. MSB 

Data Entry MSB, LSB 

Reset all Contoroiers 


Prog 

Change True # 


X 

********* 


*1 0-127 
0-127 


* 3 


System Exclusive 


* 2 


*2 




e . Song Pos 

System 

~ Song Sel 

Common 

Tune 


X 
X 

X 


X 

X 

X 




System Clock 

Real Time Commands 


X 
X 


X 
X 




Local ON/OFF 
Aux All Notes OFF 
Message Active Sense 

Reset 


X 
X 
X 
X 


X 



O 

X 




Notes 


* 1 Can be set to O or x manually, and memorized. 

* 2 Can be memorized manually. 

*3 RPN = Registered Parameter Number 
RPN # : Pitch Bend Sensitivity 
RPN # 1 : Master Fine Tune 



Mode 1 : OMNI ON, POLY 
Mode 3 : OMNI OFF. POLY 



Mode 2: OMNI ON, MONO 
Mode 4 : OMNi OFF, MONO 



O : Yes 
x : No 



IHow to read a MIDI Implementation Chart 



O: MIDI data that can be transmitted or 

received 
x : MIDI data that cannot be transmitted or 

received 

• 1 : Transmission or reception can be turned 

on or off. The setting is remembered even 
when the power is turned off. 

• 2 : Transmission or reception can be turned 

on or off. 

• Basic Channel 

The MIDI channel for transmitting (receiving) 
MIDI data can be specified over this range. 
The MIDI channel setting is remembered even 
when the power is turned off. 

• Mode 

Most recent synthesizers use mode 3 

(omni off, poiy). 

Reception: Data is received only on the 

specified channels, and 

played polyphonically. 
Transmission: Ali musical data is 

transmitted on the specified 

MIDI channel. 

*"Mode" refers to MIDI Mode massages. 

• Note Number 

This is the range of note numbers that can be 
transmitted (received. Note number 60 is 
middle C(C4)). 
The U-220 does not transmit this message. 

• Velocity 

This is the range over which velocity can be 
transmitted (received) by Note On and Note 
Off messages. 



• Aftertouch 

Key's: polyphonic aftertouch 
Ch *s: channel aftertouch 

• Pitch Bender 

The bender range setting of each Timbre 
determines the range of pitch change caused 
by pitch bender data. When set to 0, pitch 
bender data will be ignored. 

• Control Change 

This indicates the control numbers that can be 
transmitted (received), and what they will 
control. For details, refer to the MIDI 
implementation. 

• Program Change 

The program change numbers in the chart 
indicate the actual data. 

(This is one less than the Pitch and Timbre 
program change numbers.) 

• Exclusive 

Exclusive message reception can be turned on/ 
off by the exclusive switch (setup). 

• Common, Realtime 

These MIDI messages are used to synchronize 
sequencers and rhythm machines. The U-220 
does not use these messages. 

• Other 

These messages are mainly used to keep a 
MIDI system running correctly. 



152 




153 



SPECIFICATIONS 



U-220 : RS-PCM sound module 

[Sound generator} 

RS-PCM type 

Maximum simultaneous notes: 30 notes 

Output impedance; 1.2 k Q 



[Front pane!] 

VOLUME knob 

PART/ INST buttons ( P«~l [*"►"] ) 

CURSOR buttons ( P^~j ["►"] ) 

VALUE button ( []g~J QTj ) 

EXIT button 

ENTER button 

EDIT/ REVERB button 

DATA/CHORUS button 

JUMP button 

MARK button 

PCM CARD slot x 2 

PHONES jack 

POWER switch 



[Display] 

24 character 2 line LCD (with backlight) 

[Indicator] 

MIDI MESSAGE indicator 



[Weight] 
4.4 kg/9 lb 11oz 

'[Power consumption} ' 

20W(117/220/240V) 

[Included items] 

Audio cable (2.5m) x 1 
M!Di cable (1m) x 1 
Owner's manual 
Factory Settings 

[Optional items] 

Sound library SN-U110 series 

Stereo headphone RH-100 

Audio cable PJ-1 M 

MiDI/SYNC cable MSC-07/15/25/50/100 

* The Included MIDI cable Is for MIDI only. It cannot be 
used for DIN SYNC or audio. 

* Specifications and appearance are subject to change 
without notice for product Improvement 



[Rear panel] 

MIDI connectors (IN, OUT, THRU) 

Output terminals (MIX OUT L/R, DIRECT OUT 1 L/R, 

DIRECT OUT 2 L/R) 

FIXED /VARIABLE switch 



[Dimensions] 

482 (W) x 358 (D) x 45 (H) mm 
19" x 14-1/8" x 1-3/4" 

EIA — 1 U rack mount type 



154 



INDEX 



INDEX 



[A] 



[E] 



Auto Bend 

Timbre/ Pitch ■. 69 

Rhythm Inst/Pitch 77 

[B] 

Bender Range 

Timbre/Pitch 68 

Rhythm Set/Pitch 72 

Boost * 63 

Bulk Dump 

Setup 91 

Temp 92 

Memory 92 

[C] 

Ch After Sens 

Tim bre / Pitch 67 

/Vibrato 68 

/Level 71 

Rhythm Inst/Pitch 76 

Chorus 54 

Chorus Level 55 

Chorus Type 54 

Copy 

Patch 83 

Timbre 85 

Rhythm Set 87 

Copy+Ren 

Timbre 85 

Rhythm Set 87 

Ctrl 56 

[D] 

Delay Feedback 56 

Delay Time 

Chorus ■ 55 

Timbre/ Vibrato 70 

Depth 

Chorus 55 

Timbre/ Vibrato 70 

Detune Depth 

Timbre/Pitch 69 

Rhythm Inst/Pitch 78 

Device ID ■> 48 



Edit 

Setup - 45 

Patch 53 

Timbre * 64 

Rhythm Set 71 

-Edit Mode - - ■ ■ • ■ • • -45 

Effect 54 

Env 

Timbre 67 

Rhythm Inst ■ 72 

Exchage 

Patch 83 

Timbre • • • • 85 

Rhythm Set 87 

m 

Feedback • ■ 55 

lh 

Initialize 

Setup 95 

Temp 96 

Jump Page 96 

[J] 

Jump 37 

[Kl 

Key Range 59 

[L] 

Level 

Timbre • • • • • • 66 

Rhythm Inst -75 

LCD Contrast 46 

[M] 

MIDI 17 

MIDI Monitor 97 

Mark 37 

Master Tune 46 

Modulation Depth * 71 



155 



INDEX 



[O] 



Output Assign 

1 - 6Pait ■• ■ • • • -61 

Rhythm Inst 78 

Output mode 54 

tP] 

Pan 

! - 6Part 62 

Rhythm Inst 78 

Parameter Dump 45 

Part 24 

Part Copy 63 

Part Level 

1 - 6Part 62 

Rhythm Part 63 

Patch 24 

Patch Map 50 

Patch Name 53 

PCM Card 66 

Pitch Randomize 77 

Pitch Shift 

Timbre/Pitch 68 

Rhythm Inst /Pitch 76 

Poly After Sens 

Timbre / Pitch 69 

/Vibrato 71 

Rhythm Inst/Pitch 77 

[R] 

R.Inst Map 51 

ROM Play 97 

Rate 

Chorus 55 

Timbre/Vibrato •' 70 

Reverb • 56 

Reverb Level 56 

Reverb Time .56 

Reverb Type 56 

Rhythm Inst 73 

Rhythm Map 51 

Rhythm Setup 24 

Rise Time 70 

RxCh 

1 - 6Part 59 

R.Part 63 

Rx Control Ch 46 



RxHold 

1 - 6Part 61 

R.Part 64 

Rx Pan — - 60 

Rx Patch Change 47 

Rx Rhythm Change 47 

Rx Rhythm Inst Assign ♦ • • -48 

RxSyrEx "'■"• : . . . . ..... . : .45 

Rx Timbre Change 47 

Rx Volume 

1 - 6Part 60 

R.Part •• •••■■•• • 63 

[S] 

Setup .45 

Source Number 74 

[T] 

Timbre 24 

Timbre Map 51 

Timbre Name 65 

Tone 24 

[V] 

VeloSens 

Timbre/Level 66 

Rhythm Inst/Level 75 

Velo Thresh 60 

Voice Reserve 

1 -6Part 58 

R.Part 63 

[W] 

Waveform 70 

Write 

Patch 82 

Timbre •■-*••-■•- 34 

Rhythm Set •• 86 

Write+Ren 

Timbre • 85 

Rhythm Set 87 



156 



MEMO 



157 



MEMO 



158 



■For Nordic Countries- 



Apparatus containing Lithium batteries 



n-ADVARSEL! 

" ■■■■""-..■«.'AV -■ '-•■: - ■ ■ 

UtWtartjattai' Efeffasronsfare. ' " * ' ■,' 
U&foftning mi toi foretages af ei sagkyndg, 
og som beskrevet i serocemanuaL - 



VARNING! 

UtiThimbatteri. Expfosonsrisk. 

Far endast bytas ay faehorig serviatsJmiker. 

Sa bstni&ner i servicemaiaiaten. ' 



• : ± ^ADVARSEL! 

UffuurnbatteriTwe. f cnr^ek^ifo&on. '.■'.■ 
Ml bare skiftss av kvaffisert tekraker son 

bestoHvet i sefvicEmarajalai ' ' " . 



varouus! 

Uttiiumparista Rajahdysvaara. 
Pariston saa vaSte asioastaan 
aian atnmotfrnes. 



•For West Germany- 



Hiermit wtrd bescheinigt, daG der/die/das in Obereinstimmung mit den Bestimmungen der 

. RS-PCM : SOUND MODULE # £220_ Amtsbi. Vfg 1046/1984 

(GertL Typ. Bazaichnung) (AmlstJlattvBriQgung) 



funk-ertstort ist 

Der Deutschen Bundespost wurde das invarkehrbringen dieses GerStes angezeigt und die Berechtigung zur Oberprufung 
der Serie auf Bnhaltung der Bestimmungen eingeraunrl 



Roland Corporation Osaka/Japan 



Name des Mersteliers/lmporteure 



■For the USA- 



RADIO AND TELEVISION INTERFERENCE 

WARMING — Trta equipment rias been verified to comity v^ the Br^ 

non-certified or norvverfned equiprnenl is ferty 10 result in Interference to radio and TV reception. 
JteeodprrantdesertwdintMsmsruaioerie^^ 

ti may cause mwterencs with radio and television reception. Tta eouipmero has t*Hm »sl»3 A^ loortf uj 
**^ opacifications In Subpart J, e< Part 15, ott^ 

Hov«ver. there is na guarantee that the interference wis not occur In a particular truslaoatioa If tr«s equiprr^ ce^ 
canoadeUmror^tyrurr^Hwequiprivwonand^ me interference by me following measure: 

• Otaxvwa other devices and their ****busprt cables or» at a rime. !! the; Irru^^ 
T^ devk^ usuaiiy reotare RoU^ oesjgraied imWded TO 

devices, contact the manufacturer or dealer (or assistance. 

U your equipment does cause Iniederenoe to radio or television reception, you can try to correct the interference by using one or more of the toflovwre measures 

• Turn the TV or radio antenna una the .Interference stops. 

« Mip^t^-eouiprmrtBortesiceorthewtierrjrmeTUorraiSo. 

• Move the equipment larther away bom the TV or race. 

• P^theequismertintomoutialtr^isonaoWiirertaro^thantheW 
trotted by different dreuft breakers or arses.) 

• Consider instafing a rootop latevtsion antenna wtth coaxial cable lead-in between ma antenna and TV, II necessary, you should consult your deaiet or an experienced 
raoooetevtaon technician lor adeWonai suggestions. You rray 6rrt helpful rm fonow^ 

"How to Identify and Resolve Radio — TV Interference Problems- 
This booklet Is available from the US. Government Printing Office. vvashngwn. D.C.. 20402, Stock No. 00*-00rKX»4S4, 



•For Canada- 



CLASS B 



NOTICE 



This digital apparatus does not exceed the Class B limits for radio noise emissions set out in the Radio Interference 
Regulations of the Canadian Department of Communications. 



CLASSE B 



AVIS 



Cel appareil numerique ne depasse pas les limites de la classe B au niveau des emissions de bruits radioelectriques fixes 
dans le Reglemeni des signaux parasites par le ministere canadien des Communications, 



[^Roland 
10490 



UPC 10490 



IllRoland 



®